I am most grateful to the Portrait Gallery of Canada’s Board of Directors, the Director Robert Steven, and former PGC curator, Ann Davis, for giving me the opportunity to explore and share with our audience Max Dean’s art as portraiture and autobiography. Dean is an artist whose daring, creativity and commitment to keeping the art conversation alive has always moved me – attributes the fledging Portrait Gallery of Canada shares by virtue of its willingness to reimagine the art of the portrait.
This exhibition could not have happened without the generous support of the following collaborators : Max Dean, McAlister Zeller-Newman(Max’s aesthetic and technical associate) Katherine Knight (Director of award winning documentary, Still Max, and an indispensable resource), Chantal Pontbriand (interviewer and doyenne of contemporary art writing and publishing), Jim Miller (Audio Editor), Stephen Bulger Gallery (unfailingly supportive and a source of images and video links) and Peter Lynch, Pierre Tremblay and Zachary Finkelstein (all of whom generously provided links to their films on Max for the resource page) Andrew Savery-Whiteway (photographer) Paul Théberge (information regarding ____1978); NGC Library and Archives Staff for resources and Philip Dombowsky for access to Max Dean Fonds , AGO Licensing (Alexandra Cousins) and Copyright and Photographs Collection (Sophie Hackett and Emily Miller); Philadelphia Museum of Art colleagues, Peter Barberie and Kathleen Foster. My thanks also to Max’s partner, Martha Fleury, for her ongoing support.
I join with Ann Thomas in thanking everyone mentioned above with special recognition of the support received from my partner Martha Fleury, and also to Rui Pimento, Layne Hinton, and Ann Thomas.