Wednesday, January 20, 2016 - 9:00am to Friday, February 19, 2016 - 5:00pm

Eric Arthur Gallery, 230 College Street
Opening reception: Wednesday, January 20 | 6 PM - 8 PM
Gallery hours: 9:30 AM - 5 PM, Monday to Friday

Camping is both locative practice and timeless process.—Charlie Hailey, Campsite (2008)A foundational myth of North America is our collective relationship to the expansive, often rugged, and remote national landscapes. From Thoreau’s cabin in the woods, to 19th century cottages offering urbanites respite from the city in the summer, the notion of retreat and the restorative role of immersive landscape experiences has formed part of the North American conscience.
Exhibition Opening
Tuesday, February 9, 2016 -
6:00pm to 8:00pm

Larry Wayne Richards Gallery, Daniels Faculty
230 College Street
On display from February 9 — April 6, 2016

Commissioned by the Faculty, Peter MacCallum has been documenting the revitalization of One Spadina Cresent — the future home of the John H. Daniels Faculty of Architecture, Landscape, and Design — since February, 2014.
MVS Proseminar Series
Wednesday, February 10, 2016 -
6:30pm to 8:00pm
Room 103, 230 College Street
This presentation begins with an act of vandalism: the cutting off of the foot of a bronze statue of conquistador and first Governor of New Spain, Don Juan de Oñate, in 1997. The foot was cut by a group of anonymous activists in retaliation for Oñate's own brutal and murderous treatment of Pueblo and Hopi peoples during the non-Native settlement and conquest of the Southwest.
Daniels Fora
Thursday, February 11, 2016 -
6:30pm to 8:00pm

Isabel Bader Theatre, 93 Charles Street West
This is a ticketed event, register today!

Who owns ideas? What makes the cultural artifacts of our time unique?While issues of fair use, appropriation, and copyright are relatively recent preoccupations within the design professions, they have arguably always been an aspect of artistic work, and only increasingly so following the advent of mechanical and digital modes of reproduction.How are the disciplinary and legal boundaries that describe creative innovation articulated today? Is it necessary to assume that originality and appropriation are opposed?