Guide to Galleries + Museums Albert A I British Columbi a I Orego N I Washington
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C H R I S C R a N R C a Born 1949, Ocean Falls, British Columbia Lives
C H R I S C R A N R C A Born 1949, Ocean Falls, British Columbia Lives and works in Calgary, Alberta, Canada E D U C A T I O N 1979 Alberta College of Art and Design, Graduate with Honours, Calgary, Alberta 1976 Kootenay School of Art, Nelson, British Columbia S E L E C T E D E X H I B I T I O N S Solo 2015 That's an Excellent Question!, Wilding Cran Gallery, Los Angeles, CA 2011 Reading Room, Trepanier Baer Gallery, Calgary, AB 2010 “if something appears to be photographic, it is” Trepanier Baer Gallery, Calgary, AB 2009 Bright Spiral Standard, Clint Roenisch Gallery, Toronto Ont. Chris Cran: Diversions, Trépanier Baer Gallery, Calgary, Alberta 2008 The Secret Ecstasy of the Whole World, 809 Gallery, Calgary, Alberta 2006 Novel, TrépanierBaer, Calgary, Alberta Chris Cran: The Return of the Beautiful Hayseed, Clint Roenisch Gallery, Toronto, Ontario 2005 Camera Obscura, Theatre, One Yellow Rabbit’s High Performance Rodeo, Calgary, Alberta Chris Cran: Camera Obscura Theatre, Calgary Science Centre, Calgary, Alberta 2004 Inspirational Themes and Sublime Sales, TrépanierBaer, Calgary, Alberta Camera Obscura Theatre, One Yellow Rabbit’s High Performance Rodeo, Calgary, Alberta 2003 Big Opening!!!, Sable-Castelli Gallery, Toronto, Ontario And Now It’s Personal, Owens Art Gallery, Sackville, New Brunswick Camera Obscura Theatre, One Yellow Rabbit’s High Performance Rodeo, Calgary 2001 Fully Visible, Harcourt House, Edmonton Art Gallery, Edmonton, Alberta 2000 The Second Hundred Years, TrépanierBaer, Calgary, Alberta Surveying the Damage, 1977-1997, -
A Bibliography of Scientific Information on Fraser River Basin Environmental Quality
--- . ENVIRONMENT CANADA — b- A BIBLIOGRAPHY OF SCIENTIFIC INFORMATION ON FRASER RIVER BASIN ENVIRONMENTAL QUALITY . 1994 Supplement e Prepared on contract by: Heidi Missler . 3870 West 11th Avenue Vancouver, B.C. V6R 2K9 k ENVIRONMENTAL CONSERVATION BRANCH PACIFIC AND YUKON REGION NORTH VANCOUVER, B.C. L- ,- June 1994 DOE FRAP 1994-11 *- \- i — --- ABSTRACT -. -. This bibliography is the third in a series of continuing reference books on the Fraser River watershed. It includes 920 references of scientific information on the environmental I quality of the Fraser River basin and is both an update and an extension of the preceding -. bibliography printed in 1992. ,= 1- ,- . 1- 1- !- 1 - — ii — RESUME — La presente bibliographic est la troiseme clans une serie continue portant sur le bassin du fleuve Fraser. Elle comprend 920 citations scientifiques traitant de la qualite de l’environnement clans le bassin du fleuve Fraser, et elle constitue une mise a jour de la bibliographic precedence, publiee en 1992. — — — ---- — —. .— — — ,- .— ... 111 L TABLE OF CONTENTS Page Abstract ‘ i Resume ii Introduction iv References Cited v Acknowledgements vi Figure: 1. Fraser River Watershed Divisions , vii ... Tables: 1. Reference Locations Vlll 2. Geographic Location Keywords ix 3. Physical Environment Keywords x 4. Contamination Kefiords xi, 5. Water Quality Keywords xii . ... 6. Natural Resources Keywords Xlll 7. Biota Keywords xiv 8. General Keywords xv Section One: Author Index Section Two: Title Index \ 117 ( L iv INTRODUCTION This bibliography is the third in a series of continuing reference books on the Fraser River watershed. With its 920 references of scientific information on the environmental quality of the , -. -
CURTIS CUTSHAW Born in Edmonton, Alberta 1967 Lives in Calgary, Alberta
CURTIS CUTSHAW Born in Edmonton, Alberta 1967 Lives in Calgary, Alberta Artist Statement Curtis Cutshaw’s paintings show us how a painting is made. Each step of the Artist’s process can be seen. Each choice is there for the viewer to unravel, as if stopped in time. Each piece shows a choice, a step forward to the final realization of the complete painting. Fractured and deconstructed images on individual birch wood tiles create a sense of removal of meaning. Scratched, rubbed, marked, erased and distressed images hint at repurposing and the multiple pieces appear to have had a history, where in fact the artist creates them. The viewers’ mind wants to reassemble the pieces and use what is there to create what is not there. Cutshaw does not allow for the accidental. The works may appear spontaneous, yet every piece, every mark; whether it is painted, drawn or scratched, is intentional and created by the artist. The artists’ touch, his hand and his construction are at the center of each work. Cutshaw has an ongoing dialogue with the picture plane. Depending on what the artist does with each piece in the painting, he either adds to or denies spatial reference. A mark scratched into the surface flattens the picture plane, denying illusionistic space, bringing the viewers’ eye to the surface; where half of a circle implies the whole, creating illusionistic space. Through Cutshaw’s paintings, the viewer can experience this dichotomy and the viewer is able to see one choice and a thousand choices through assemblage. Each shape is a record of a moment that can be seen, experienced, and arrived. -
Ted Godwin: Last of the Regina Five
TED GODWIN: LAST OF THE REGINA FIVE FOLDFORMING: OF LIGHT AND LUSTRE Fall 2012 ANACHRONISMS IN CLAY BEES IN BERLIN ACAD IN ACTION FALL.2012 | ACAD Publisher External Relations Statements, opinions and Account Director Stephanie Hutchinson viewpoints expressed by the Managing Editor Miles Durrie writers of this publication do Creative Director Anders Knudsen not necessarily represent the (Diploma in Visual Communications, 1988) views of the publisher. Art Director Venessa Brewer (Bachelor of Design, 2002) Alberta College of Art + Design Contributors Kelley Abbey, Shelley Arnusch, in partnership with RedPoint Carol Beecher, Miles Durrie, Kim Alison Media & Marketing Solutions. Fraser, Mackenzie Frère, Kevin Kurytnik, Alison Miyauchi, Jared Sych, Lori Van Copyright 2012 by RedPoint Rooijen, Colin Way Media Group Inc. No part of this Project Manager Kelly Trinh publication may be reproduced Production Manager Mike Matovich without the express written consent of the publisher. Cover Illustration Karen Klassen BFA Print Media, 2005 To view more of Karen’s work go to www. karenklassen.com 100, 1900 – 11th Street SE Alberta College of Art + Design Calgary, Alberta T2G 3G2 1407 – 14th Avenue NW Phone: 403.240.9055 Calgary, Alberta T2N 4R3 Media & Marketing Solutions redpointmedia.ca Phone: 403.284.7600 TRAVEL TO THE ANCIENT STONE VILLAGE OF LARAOS, PERU AND ITS SPECTACULAR STONE TERRACES. 14 DAYS OF ESCORTED DAY TRIPS INTO THE SURROUNDING NATIONAL PARK WILL CONCLUDE OVERNIGHT AT A HISTORIC PLANTATION, NOW RENOWNED AS A FINE DINING DESTINATION. -
Canadian Prairie Watercolour Landscapes
This material may be copied for personal use. Photocopying or reproduction by any means for classroom or commercial use is subject to approval by the author, phone 306 242-4350, e-mail [email protected] All copies must contain this heading. (c) 1997 Terry Fenton CANADIAN PRAIRIE WATERCOLOUR LANDSCAPES I VISITORS WEST FOR THE PURPOSES OF watercolour landscape painting in prairie Canada (with the exception of Paul Kane and Lewis Hine who traveled overland earlier in the century and were concerned primarily with documentation) our history begins in 1887 when William Van Horne, then general manager and subsequently president of the Canadian Pacific Railway. Van Horne issued railroad passes to artists, encouraging them to paint scenery from the interior of the new country — especially what were to become the mountain parks. He shrewdly judged that the images would attract both tourists and settlers both of whom would be obliged to use the railway. In a sense, this use repeated the conditions of the Grand Tour as well as Turner’s visits to the Alps and Italy in search of the picturesque and the sublime: both the purpose and character of the trip and the scenery pursued were English in spirit — one can imagine the artists perusing and applying the principles of Ruskin’s Modern Painters throughout the journey. Equally English were the means chosen — the artists worked from nature in watercolour as often as not, and produced large “exhibition watercolours” based upon them. They also painted oils, but like so many of their British counterparts of the day, their oils tended to be still and pedestrian. -
Proquest Dissertations
I THE UNIVERSITY OF CALGARY accumulation/ablation by Diane Edith Colwell A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS DEPARTMENT OF ART CALGARY, ALBERTA SEPTEMBER, 2010 ©Diane Edith Colwell 2010 Library and Archives Bibliotheque et 1*1 Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-69413-8 Our file Notre reference ISBN: 978-0-494-69413-8 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library and permettant a la Bibliotheque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans le loan, distribute and sell theses monde, a des fins commerciales ou autres, sur worldwide, for commercial or non support microforme, papier, electronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette these. Ni thesis. Neither the thesis nor la these ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent etre imprimes ou autrement printed or otherwise reproduced reproduits sans son autorisation. -
Northern Red-Legged Frog,Rana Aurora
COSEWIC Assessment and Status Report on the Northern Red-legged Frog Rana aurora in Canada SPECIAL CONCERN 2015 COSEWIC status reports are working documents used in assigning the status of wildlife species suspected of being at risk. This report may be cited as follows: COSEWIC. 2015. COSEWIC assessment and status report on the Northern Red-legged Frog Rana aurora in Canada. Committee on the Status of Endangered Wildlife in Canada. Ottawa. xii + 69 pp. (www.registrelep-sararegistry.gc.ca/default_e.cfm). Previous report(s): COSEWIC. 2004. COSEWIC assessment and update status report on the Red-legged Frog Rana aurora in Canada. Committee on the Status of Endangered Wildlife in Canada. Ottawa. vi + 46 pp. (www.sararegistry.gc.ca/status/status_e.cfm). Waye, H. 1999. COSEWIC status report on the red-legged frog Rana aurora in Canada in COSEWIC assessment and status report on the red-legged frog Rana aurora in Canada. Committee on the Status of Endangered Wildlife in Canada. Ottawa. 1-31 pp. Production note: COSEWIC would like to acknowledge Barbara Beasley for writing the status report on the Northern Red- legged Frog (Rana aurora) in Canada. This report was prepared under contract with Environment Canada and was overseen by Kristiina Ovaska, Co-chair of the COSEWIC Amphibian and Reptile Species Specialist Subcommittee. For additional copies contact: COSEWIC Secretariat c/o Canadian Wildlife Service Environment Canada Ottawa, ON K1A 0H3 Tel.: 819-938-4125 Fax: 819-938-3984 E-mail: COSEWIC/[email protected] http://www.cosewic.gc.ca Également disponible en français sous le titre Ếvaluation et Rapport de situation du COSEPAC sur la Grenouille à pattes rouges du Nord (Rana aurora ) au Canada. -
Jim Drobnick (Updated February 2018)
Curriculum Vitae Jim Drobnick (updated February 2018) Associate Professor Contemporary Art and Theory Faculty of Liberal Arts and Sciences OCAD University [email protected] EDUCATION 2006 Doctor of Philosophy. Humanities Doctoral Program, Concordia University, Montreal. Thesis title: Olfactory Dimensions in Modern and Contemporary Art. Nominated for the Governor General’s Gold Medal. 1986 Master of Fine Arts. Nova Scotia College of Art and Design, Halifax. 1981 Bachelor of Arts. Oberlin College, Oberlin, Ohio. Combined Major in Art History and Studio Art. Summa cum laude. Phi Beta Kappa. POSITIONS HELD 2006-Date Associate Professor, Contemporary Art and Theory, Faculty of Liberal Arts and Sciences, OCAD University, Toronto. 2012-Date Founder and Editor (with Jennifer Fisher), Journal of Curatorial Studies, Intellect Publishers, Bristol, UK. 2006-Date Exhibition Reviews Editor, The Senses & Society, triannual, Bloomsbury Publishing, London, UK. 2010-Date Exhibition Reviews Editor, PUBLIC: Art/Culture/Ideas, biannual, Toronto. 1994-Date Founder (with Jennifer Fisher), DisplayCult, curatorial collective. 2017-Date Research Associate, Scent Art Net: Olfactory Art in the New Millennium, https://scentart.net/. 2014-Date Research Associate, EDGE Lab (Experiential Design and Gaming Environments), Responsive Ecologies, Ryerson University, Toronto. 1998-Date Research Associate, CONSERT (Concordia Sensoria Research Team), Concordia University, Montreal. 1 2016-2017 Graduate Program Director, MA Program in Contemporary Art, Design and New Media Art Histories, Ontario College of Art & Design University, Toronto. 2009-2012 Graduate Program Director, MA Program in Contemporary Art, Design and New Media Art Histories, Ontario College of Art & Design University, Toronto. 2005-2006 Research Fellow/Visiting Scholar, Art History and Visual Studies, The School of Arts, Histories and Cultures, University of Manchester, Manchester, UK. -
Vancouver Naturalist
V A N C O U V ER Naturalist Vol 20, Issue 1 | newsletter for nature VancouVer members • spring 2018 Nature Vancouver Naturalist ISSN 1491-526X Vancouver SPRING 2018, Vol 20, Issue 1 Nature Vancouver was founded as the Vancouver Natural History Vancouver Naturalist is published four times a year by Society in 1918 by Professor John Davidson with the following Nature Vancouver objectives: PO Box 3021, Stn. Terminal, Vancouver, BC V6B 3X5 t To promote the enjoyment of nature Reproduction without permission is prohibited. t To foster public interest and education Editor: Deborah Fong in the appreciation and study of nature [email protected] t To encourage the wise use and conservation of natural resources Digital Photo Production: Ron Long t To work for the complete protection of Website Maintenance: [email protected] endangered species and ecosystems t To promote access to, and maintenance of, Advertising info: Jeremy McCall natural areas in the vicinity of Vancouver 604-876-7694, [email protected] Submissions Photos should be at least 800x600 pixels and 300 dpi. Weekly Updates to Members Please submit material to: [email protected] Nature Vancouver sends out emails to advise members of Deadlines for submissions upcoming programs, field trips and events or any last minute February 15, May 15, August 15 , November 15 cancellations or changes in time, date or location of programs. If you are not receiving these updates, and wish to, please contact our adVertising rates* Membership Secretary, [email protected] or 604-787-4883, Full page $150 .............7.5” x 10” who will add or update your email information. -
Glenbow Report to the Community 2014 – 15
One Museum. A Million Stories. Glenbow Report to the Community 2014 – 15 125,697 Total annual attendance between April 1, 2014 – March 31, 2015 4,108 Number of visitors who received complimentary admission through special access programs (Aboriginal Access Program, SunLife Arts & Culture Pass, Community Outreach Program, Cultural Access Program for new Canadian citizens) 7,394 Number of people assisted with research requests and access to Glenbow’s collections MAKING AN IMPACT As a key cultural cornerstone in Calgary for nearly 50 years, Glenbow has surprised and engaged generations of Albertans and visitors to the province with remarkable connections between art, culture and the world around us. Glenbow provides us with a sense of place – what it means to live in this amazing landscape – and an appreciation for the legacy of the remarkable people and events that have shaped our community. We are proud to collect, showcase and involve Alberta’s wealth of artistic talent in our programming and to offer a glimpse into the artistic and cultural achievements of other parts of the world. Glenbow has always been a trusted place to explore ideas, to present new ways of thinking, and to open discussions on topical issues in our community. In the year ahead, we’ll be planning programs and exhibitions to celebrate our 50th Anniversary. Calgary has changed dramatically in the last 50 years – even the last five years – and Glenbow is repositioning itself to respond to a new generation of visitors. We look to artists and cultural creators to help us explore our world. Artists are fearless observers, and their works – funny, beautiful, poignant, challenging – open the door to new conversations. -
ICA Boston, Boston, MA*
GEOFFREY FARMER Born: 1967, Vancouver, British Columbia Lives and works in Vancouver, British Columbia EDUCATION 1992 Emily Carr Institute of Art and Design, Vancouver, British Columbia 1990-1991 San Francisco Art Institute, San Francisco, California AWARDS AND RESIDENCIES 2015 The Watermill Center Residency, Watermill, NY 2014 Edinburgh Printmakers, Artist in Residence, Edinburgh 2013 Gershon Iskowitz Prize 2011 Hnatyshyn Foundation Visual Arts Award Kadist Art Foundation 2010 God’s Dice, Artist in Residence, The Banff Centre, Banff, Alberta SOLO EXHIBITIONS (*publication/catalogue) 2018 Casey Kaplan, New York, NY (forthcoming) 2017 The Care With Which The Rain Is Wrong, Schinkel Pavillion, Berlin Geoffrey Farmer & Gareth Moore. A Dark Switch Yawning, Neptune Skeletons Thronging, Black Bucket Prolonging, World Turtle Longing, Sink Plug Wronging, Salzburger Kunstverein, Salzburg, Austria The Kitchen, Catriona Jeffries, Vancouver Canadian Pavilion, Venice Biennale, Venice 2016 ICA Boston, Boston, MA* 2015 How Do I Fit This Ghost In My Mouth?, Vancouver Art Gallery, Vancouver * 2014 Cut nothing, cut parts, cut the whole, cut the order of time, Casey Kaplan, New York, NY Every day needs an urgent whistle blown into it, Art Gallery of Ontario, Toronto Let’s Make the Water Turn Black, Kunstverein Hamburg, Hamburg; Pérez Art Museum Miami, Miami, FL* The Grass and Banana go for a walk, Catriona Jeffries, Vancouver 2013/2014 Let’s Make the Water Turn Black, Migros Museum, Zurich, Switzerland; Nottingham Contemporary, Nottingham* 2013 The Surgeon -
One Yellow Rabbit Performance Theatre (OYR) Harnesses the Bold, Adventurous Spirit of Our Calgary Community to Enrich the Place We Live
One Yellow Rabbit Performance Theatre Report to the Community 2014/2015 Community the to Report Robust cultural landscapes nurture vibrant societies. Through high-calibre work in the performing arts across the wide range of projects we undertake each season, One Yellow Rabbit Performance Theatre (OYR) harnesses the bold, adventurous spirit of our Calgary community to enrich the place we live. Our mission is to create and present vital, surprising performance experiences that engage and reward our audience. We believe it is through this kind of artistic To realize this vision work – work that arouses curiosity, ignites we are commited to… passion, stimulates imagination and challenges expectation – that individuals 6WhW^ab[`YS`VbdaVgU[`YfZW are inspired and communities fourish. work of the One Yellow Rabbit Performance Ensemble By extension, we believe that the rigor and love that feeds the work we put forward 7VgUSf[`YS`V_W`fad[`Y`Wi translates to a community that values and established artists through connection, compassion, and strives programs like the Summer to nourish its people – a society that is Lab Intensive and the galvanized by challenge and energized by beautifulyoungartists initiative possibility. BdaVgU[`YS`VbdWeW`f[`YfZW High Performance Rodeo, Calgary’s International Festival of the Arts 5W^WTdSf[`YfZWegbbadfaXagd community partners through special events like Wine Stage and unique events in the Big Secret Theatre Our Mission Cover photo credit: Kelly Hofer Kelly credit: photo Cover Photo Credit: Kelly Hofer The work of One Yellow Rabbit Our heartfelt thanks to everyone who has One Yellow Rabbit Performance Theatre is entrenched in helped One Yellow Rabbit throughout Performance Ensemble Staf deeply rooted values of respect, dignity, this year.