Introducing Board Chair, Diana Reitberger
Following the retirement of James Appleyard after eight years of generous service, we’re thrilled to announce the appointment of Diana Reitberger as Chair of the Gardiner Museum’s Board of Trustees. Diana joined the Curatorial Committee in 2008 and was named a Trustee of the Board in 2019.
A thoughtful collector with a lifelong passion for ceramics, Diana made her first gift of artwork to the Gardiner in 2014. Since then, she has gifted more than 100 works by Canadian and international artists, known collectively as The Diana Reitberger Collection of Modern & Contemporary Ceramics. In 2018, the Gardiner mounted an exhibition of works from the Collection, accompanied by a publication.
We recently sat down with Diana to learn more about her relationship to the Gardiner and her deep love of ceramics.
Q: How did you first come to be involved with the Gardiner?
From 1978 – 1980, I worked at the ROM as an instructor with the Saturday Morning Club, and in the summer as an assistant in the Art Instruction program. We used to hang some of the work by the children on the fence surrounding the tennis courts at Victoria College. One day, I noticed the sign saying that the tennis courts would be disappearing to make way for a new museum. I watched as the Gardiner Museum took shape and when it opened in 1984, I signed up to become a member.
Q: What is it about ceramics that you find compelling?
My earliest experiences with clay were joyful. I still have a little yellow hedgehog that I made while in elementary school. I modeled the eye and textured back using a toothbrush! I have always been fascinated by the history of clay over the millennia and how all cultures have defined themselves in some way through this medium.
I am always amazed by the fragility of clay and yet we have so much material that has withstood the passage of time. I am in awe of the variety of approaches to working with clay and the incredible technical knowledge, expertise and infinite experimentation required by artists to define their style.
Léopold L. Foulem (Canadian, 1945 – 2023), English Teapot #3, 1983, The Diana Reitberger Collection, G17.11.9
Q: You’re an avid collector. What guides your choices when acquiring new work?
I have gone through many phases in my ceramic collecting. I started buying beautiful handmade mugs, platters, teapots, and bowls. One day in 1983, I saw an exhibition at Prime Gallery that featured the work of Léopold Foulem. What caught my eye were four objects with cut outs of classic teapot shapes, executed in earthenware with a black glaze. All I know is that I wanted to live with this piece. It was the biggest purchase I had ever made in my life, and it started me on the path to collecting nonfunctional work.
I have always bought pieces that spoke to me in some way, and I have mainly collected the work of Canadian artists. Travel afforded me with exposure to both American and British artists, and most recently, I have been drawn to the work of Japanese artists, largely women, who are doing amazing work.
Q: Do you have a favorite memory at the Gardiner?
There are too many to mention, however on a personal level I would have to say that being invited to participate in the exhibition “Toronto Collects” by former curator Sue Jeffries in 1999 was an absolute thrill. It was especially meaningful to me because my mom and dad were both in attendance at the opening and I know they were very proud to see that my collecting had a purpose and was being recognized. My dad passed away the following year.
Similarly, a big dream of mine was realized when I gave a significant part of my collection to the Museum in 2018 and was honoured with The Diana Reitberger Collection exhibition and catalogue. Again, my mom was in attendance, this time with my brother Eddy. It is a special memory for me.