Saskatchewan Arts Board 2012/2013 Annual Report
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Changing Horizons
Changing Horizons SASKATCHEWAN ARTS BOARD 2015-2016 ANNUAL REPORT MISSION: VALUES: TABLE OF CONTENTS: The Saskatchewan Arts Board recognizes, • Accessibility — We are committed to Letter of Transmittal 2 encourages and supports the arts to enrich providing accessible and user-friendly Message from the Chair 3 community well-being, creativity, diversity and services for our clients. Message from the Chief Executive Officer 4 prosperity. • Diversity — We are committed to building Board & Staff 5 an organization that reflects the ever- VISION: Stories 6 increasing diversity of the people of A creative society where the arts, artistic Saskatchewan and which embraces a In Memory 35 expression and innovation play a dynamic role broad scope of creativity and artistic Strategic Plan 36 and are accessible to everyone in expression through the arts. Permanent Collection: New Acquisitions 38 Saskatchewan. • Accountability — Our policies and Permanent Collection: Works on Loan 40 processes are transparent and reflect a Grants & Funding 42 commitment to effective stewardship for Jurors, Assessors & Advisors 46 the public trust we hold. Management Responsibility for Financial Information 48 • Collaboration — We recognize greater Auditor's Report 48 outcomes will be achieved through Financial Statements 49 collaboration, partnerships and the engagement of clients, staff and Notes to the Financial Statements 51 stakeholders. • Excellence — Our commitment to focusing on our clients and going above and beyond to support excellence in the arts. • Adaptability — Our ability to think differently, innovate and continuously evolve in order to support our clients and the dynamic role of the arts within a creative society. Cover Image: Gabriela García-Luna Blue Wheat , 2011 Giclée print on paper Photo courtesy of the artist The Saskatchewan Arts Board provides opportunities to change horizons for people across Saskatchewan. -
Resource Person Listing 2016
Resource Person Listing 2016 Bringing the Arts to You Resource Person Listing Visual Arts Organization of Saskatchewan Arts Councils Artists Resource Person Listing 2016 1102 8th Avenue Regina, Saskatchewan Arnott, Ryan S4R 1C9 Bremner, Margaret Phone: 306.586.1258 de Glatigny, Gabrielle Fax: 306.586t.1550 Email: [email protected] Dorion, Leah Marie Website: www.osac.ca Dotson, Allan Elizabeth, Cecilia Ennis, Kim Fink, Heike Gair, Miriam Hale, Laura Hauser, Iris Hauser, Zach Körner, Miriam Layh, Jan Martin, Monique McElroy, Anne Moker, Val Morelli, Up Nicholson, Odette Osteneck, Gerda Quinlan, Kevin Wylie, Carol Organization of Saskatchewan Arts Councils Resource Person Listing 2016 Ryan Arnott Margaret Bremner Ryan Arnott has a B.F.A. with Distinction from the Margaret Bremner studied at the University of University of Regina and studied print-making at the Saskatchewan, receiving her Bachelor of Fine Arts in 1977. Nova Scotia College of Art and Design. With roots in Bremner has taken further studies in coloured pencil drawing prairie landscape, influenced by pop, surrealist and with Alison Fagan in Ottawa and has studied Zentangle, a conceptual art, he creates thought-provoking pictures drawing technique, becoming a certified teacher in 2010. and sculptures in a wide variety of materials. Address Bremner’s intricate, patterned work includes Zentangle- His experience as an artist in different media, combined 29 Simpson Crescent, inspired pen-and-ink drawings, and mandalas, with his work as a professional picture framer and Saskatoon, Sask. mainly in acrylic. Her interests in colour, detail, collections manager, gives him insight into numerous symbolism, and spirituality influence her work; she aspects of the visual arts. -
Annual Report 100 Years of Heart
2004 2005 Annual Report 100 Years of HeART PART OF OUR LIVES The Honourable Dr. Lynda Haverstock Lieutenant Governor of Saskatchewan Your Honour: The Saskatchewan Arts Board is pleased to submit its annual report for the fiscal year April 1, 2004 to March 31, 2005. The Saskatchewan Arts Board’s financial statements are included and have been audited by the provincial auditor. Respectfully submitted on behalf of the Saskatchewan Arts Board, The Honourable Joan Beatty Colleen M. Bailey Minister Responsible for Chair Culture, Youth and Recreation Saskatchewan Arts Board TABLE OF CONTENTS PART of our Province 1 PART of our Memory 5 PART of our Community 6 PART of Learning 9 PART of Work 12 PART of Well-being 14 PART of our Identity 16 PART of Achievement 20 PART of our Celebrations 22 Management Responsibility for Financial Information 32 Auditor’s Report 32 Financial Statements 33 Notes to Financial Statements 37 The past year has been an exciting one for the arts in our province. 2005 marks Saskatchewan’s 100th birthday and we are pleased that the arts are a prominent part of many of your centennial celebrations. The arts have played an important role in the lives of Saskatchewan people for these many decades and it’s great to see this recognized in our 100th year. This year’s annual report introduces the theme PART of Our Lives, which we have adopted to highlight the importance of the arts in the daily lives of all Saskatchewan people. Regardless of where we live, our culture or our age, the arts inspire us and make the places we call home unique. -
Resources Pertaining to First Nations, Inuit, and Metis. Fifth Edition. INSTITUTION Manitoba Dept
DOCUMENT RESUME ED 400 143 RC 020 735 AUTHOR Bagworth, Ruth, Comp. TITLE Native Peoples: Resources Pertaining to First Nations, Inuit, and Metis. Fifth Edition. INSTITUTION Manitoba Dept. of Education and Training, Winnipeg. REPORT NO ISBN-0-7711-1305-6 PUB DATE 95 NOTE 261p.; Supersedes fourth edition, ED 350 116. PUB TYPE Reference Materials Bibliographies (131) EDRS PRICE MFO1 /PC11 Plus Postage. DESCRIPTORS American Indian Culture; American Indian Education; American Indian History; American Indian Languages; American Indian Literature; American Indian Studies; Annotated Bibliographies; Audiovisual Aids; *Canada Natives; Elementary Secondary Education; *Eskimos; Foreign Countries; Instructional Material Evaluation; *Instructional Materials; *Library Collections; *Metis (People); *Resource Materials; Tribes IDENTIFIERS *Canada; Native Americans ABSTRACT This bibliography lists materials on Native peoples available through the library at the Manitoba Department of Education and Training (Canada). All materials are loanable except the periodicals collection, which is available for in-house use only. Materials are categorized under the headings of First Nations, Inuit, and Metis and include both print and audiovisual resources. Print materials include books, research studies, essays, theses, bibliographies, and journals; audiovisual materials include kits, pictures, jackdaws, phonodiscs, phonotapes, compact discs, videorecordings, and films. The approximately 2,000 listings include author, title, publisher, a brief description, library -
(Re)Mapping, Grounding, Remembering: a Curatorial Study of Way-Finding and Relationships to Place in Contemporary Indigenous Art Practice
(re)mapping, grounding, remembering: A Curatorial Study of Way-finding and Relationships to Place in Contemporary Indigenous Art Practice by Courtney Miller A thesis exhibition presented to OCAD University in partial fulfillment of the requirements for the degree of Master of Fine Arts in Criticism and Curatorial Practice Graduate Gallery, OCAD University, March 7-14, 2020 Toronto, Ontario, Canada, March 2020 © Courtney Miller, 2020 ii (re)mapping, grounding, remembering A thesis exhibition by Courtney Miller Master of Fine Arts Criticism and Curatorial Practice 2020 OCAD University Abstract (re)mapping, grounding, remembering explores how the concept of (re)mapping is communicated in Indigenous contemporary artwork to demonstrate place-making methods and maintain Indigenous presence on land/landscape. (Re)mapping indicates Indigenous perceptions of and connections to ancestral land/landscape through themes of responsibility, reciprocity, place-based language, and intergenerational knowledges. This thesis project involves an exhibition featuring the artworks of Anishinaabe artist Bonnie Devine, Blackfoot/Cree artist Richelle Bear Hat, and Métis artist Katherine Boyer. Through literal, symbolic, and discursive gestures of mapping, the artists contribute to a conversation of re-writing histories, shared memories, complex and enduring relationships pertaining to homeland. iii Acknowledgements I would like to thank my thesis advisor Gerald McMaster and my secondary advisor Selmin Kara for their guidance, my readers Anna Hudson and Johanna Householder, and my previous advisor Suzanne Morrissette. I also would like to thank my husband Zak, my friends, and family for their continuous support. I express my continual appreciation to the artists in my thesis exhibition: Bonnie Devine, Richelle Bear Hat, and Katherine Boyer. -
The Numinous Land: Examples of Sacred Geometry and Geopiety in Formalist and Landscape Paintings of the Prairies a Thesis Submit
The Numinous Land: Examples of Sacred Geometry and Geopiety in Formalist and Landscape Paintings of the Prairies A Thesis Submitted to the College of Graduate Studies and Research in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Department of Art and Art History University of Saskatchewan Saskatoon By Kim Ennis © Copyright Kim Ennis, April 2012. All rights reserved. Permission to Use In presenting this thesis in partial fulfillment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis work or, in their absence, by the Head of the Department or the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis. Requests for permission to copy or to make other uses of materials in this thesis in whole or part should be addressed to: Head of the Department of Art and Art History University of Saskatchewan 3 Campus Drive Saskatoon, Saskatchewan S7N 5A4 Canada i Abstract Landscape painting and formalist painting, both terms taken in their broadest possible sense, have been the predominant forms of painting on the prairie, particularly in Saskatchewan, for several decades. -
Annual Report 2015
ANNUAL REPORT 2015 ORGANIZATION OF SASKATCHEWAN ARTS COUNCILS 2016 Cover (close-up): Katherine Boyer, 234 BPI (beads per inch), acrylic beads on cotton, 9.5” x 13.5”, 2014. Toured 10 communities in 2015/2016. Opposite: Monique Martin, left to right, top to bottom: Poppies, Carnations, Unicorn, Sweetheart, Tulips, Froth, Forest, Thalys, Ink on paper, 2013-2015, 23 x 23cm (each mug) Showcase photos throughout the Annual Report are by Paper Moon Photography CONTENTS 2 About OSAC 3 Message from the Chair 4 Executive Director Report 6 Operations Coordinator Report 8 Performing Arts Report 10 Performing Arts: Spark Report 11 Junior Concerts and Membership Liaison Report 15 Arts Council Visits 16 Visual and Media Arts Report 20 OSAC Membership 22 Volunteer Recognition 24 Infographic Map 28 Funding Agencies and Donors 29 Join us Online 30 Performances and Exhibitions 36 Showcase 2015 Photos 39 Financials About OSAC The Organization of Saskatchewan Arts Councils (OSAC) acts as an umbrella for community arts councils and schools across the province. Across Saskatchewan, we bring people and the arts together. In more than 80 towns and cities, local arts councils Ǥơǡ performances, visual art exhibitions, workshops, and special events. ͚͙͘͝Ȁ͚͙͘͞ǡ͙͝͞ ͙͛ơ͚͡ Ǥ Concerts Program travelled to 60 communities throughout the province with 101 performances taking place. Sixteen visual and media arts exhibitions toured 81 venues throughout Saskatchewan and were viewed by over 24,000 people including over 150 gallery tours through OSAC’s touring visual arts program Arts on the Move. Check out our infographic map for a look at the schools and communities that have worked with OSAC in “Bringing the Arts to You!” ǡ ǡơ and services in the visual arts and performing arts. -
Curriculum 1-9 Arts 8 (SK)
Saskatchewan Curriculum Arts Education 2009 8 Arts Education 8 Arts Education 8 ISBN 978-1-926631-52-3 1. Arts education (Middle school) - Saskatchewan - Curricula. 2. Competency-based education - Saskatchewan. Saskatchewan. Ministry of Education. Curriculum and E-Learning. Humanities Unit. All rights are reserved by the original copyright owners. Section Title, 1 col — right side page Arts Education 8 Table of Contents Acknowledgements...............................................................................................v Introduction........................................................................................................... 1 Core.Curriculum..................................................................................................... 2 Broad.Areas.of.Learning....................................................................................... 2 Developing.Lifelong.Learners....................................................................... 2 Developing.a.Sense.of.Self.and.Community.............................................. 2 Developing.Engaged.Citizens....................................................................... 3 Cross-curricular.Competencies........................................................................... 3 Developing.Thinking...................................................................................... 3 Developing.Identity.and.Interdependence................................................ 4 Developing.Literacies.................................................................................... -
Native American Art Lesson Plans in School Arts: a Content Analysis
Copyright 2011 by Florida State University Wheeler, E. H. & Bobick, B. (2011). Native American lesson plans in school arts: A content Analysis. Journal of Art for Life, 2(1), 19-35. Native American Art Lesson Plans in School Arts: A Content Analysis Elizabeth H. Wheeler The transformative Jefferson Elementary School Jefferson, GA approach encourages teachers to develop Bryna Bobick, Ed. D. University of Memphis lessons that address Memphis, TN cultural and Abstract historical issues from This article presents an examination of the point of view of two studies which explored and examined multicultural art education. A content the culture being analysis of Native American themed ar- studied. ticles in School Arts magazine from 1985- 2004 was conducted to understand how art educators addressed this issue in their curriculum and to identify sound criteria by which to develop art education cur- riculum. Once the criteria for best prac- tices in multicultural art education was identified, an action research design was used to investigate the impact of Native American themed art lessons on student learning and on multicultural awareness. The overarching aim of both studies was to uncover best practices for creating and teaching elementary art curriculum on Native American art and contempo- rary Native American artists. Keywords: Multicultural education, elementary art education, contemporary Native American art education Correspondence regarding this article may be sent to Ms. Wheeler via email: [email protected] or Dr. Bobick via email:[email protected] Journal of Art for Life 2(1) 19 Excellent multicultural education cannot be limited to learning one aspect of a culture . -
Next Year's Country
NEXT YEAR’S COUNTRY Curated by Sandra Fraser, Curator (Collections) ARTISTS Kim Adams Grant Arnold Lorne Beug Raymond Boisjoly Eleanor Bond Randy Burton Victor Cicansky Dana Claxton Marlene Creates Wally Dion Joseph Fafard David Garneau Gregory Hardy Richard Holden Geoffrey James Brian Jungen William Kurelek Jean Paul Lemieux Mary Longman Tanya Lukin Linklater Ken Lum Lynne Marsh WC McCargar Fred Moulding Ann Newdigate Louise Noguchi Graeme Patterson Edward Poitras Richard E. Prince Allen Sapp Danny Singer David Thauberger Alex Wyse 102 Spadina Crescent East Saskatoon, SK, Canada, S7K 0L3 This text accompanies, Next Year’s Country, curated by Sandra Fraser, and presented at Remai Modern from February 1–October 12, 2020. © Remai Modern 2020 ISBN: 978-1-896359-93-9 Remai Modern is situated on Treaty 6 Territory and the Traditional Homeland of the Métis. We pay our respects to First Nations and Métis ancestors and reaffirm our relationship with one another. I want to express my thanks for the gracious teachings I have received from those who call Saskatchewan home. I am grateful for the opportunity to work with the collection at Remai Modern, my colleagues and the artists in the exhibition. I am indebted to the insights of many, especially artist Barbara Meneley, whose work deals critically with the settlement of the west, documented in Unsettling the Last Best West: Restorying Settler Imaginaries (2015), and of Tim Ingold’s book The Perception of the Environment: Essays on Livelihood, Dwelling and Skill (2011). – Sandra Fraser NEXT YEAR’S COUNTRY introduction The title of this exhibition is a reference to Saskatchewan’s settler history. -
The Numinous Land: Examples of Sacred Geometry and Geopiety in Formalist and Landscape Paintings of the Prairies
The Numinous Land: Examples of Sacred Geometry and Geopiety in Formalist and Landscape Paintings of the Prairies A Thesis Submitted to the College of Graduate Studies and Research in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Department of Art and Art History University of Saskatchewan Saskatoon By Kim Ennis © Copyright Kim Ennis, April 2012. All rights reserved. Permission to Use In presenting this thesis in partial fulfillment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis work or, in their absence, by the Head of the Department or the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis. Requests for permission to copy or to make other uses of materials in this thesis in whole or part should be addressed to: Head of the Department of Art and Art History University of Saskatchewan 3 Campus Drive Saskatoon, Saskatchewan S7N 5A4 Canada i Abstract Landscape painting and formalist painting, both terms taken in their broadest possible sense, have been the predominant forms of painting on the prairie, particularly in Saskatchewan, for several decades. -
Resource Person Listing 2016
Resource Person Listing 2016 Bringing the Arts to You Resource Person Listing Visual Arts Organization of Saskatchewan Arts Councils Resource Person Listing 2016 1102 8th Avenue Regina, Saskatchewan S4R 1C9 Phone: 306.586.1258 Fax: 306.586t.1550 Email: [email protected] Website: www.osac.ca Artists Resource Person Listing 2016 Arnott, Ryan Bremner, Margaret de Glatigny, Gabrielle Dorion, Leah Marie Dotson, Allan Elizabeth, Cecilia Ennis, Kim Fink, Heike Gair, Miriam Hale, Laura Hauser, Iris Hauser, Zach Körner, Miriam Layh, Jan Martin, Monique McElroy, Anne Moker, Val Morelli, Up Nicholson, Odette Osteneck, Gerda Quinlan, Kevin Wylie, Carol Organization of Saskatchewan Arts Councils Resource Person Listing 2016 Ryan Arnott Ryan Arnott has a B.F.A. with Distinction from the University of Regina and studied print-making at the Nova Scotia College of Art and Design. With roots in prairie landscape, influenced by pop, surrealist and conceptual art, he creates thought-provoking pictures and sculptures in a wide variety of materials. His experience as an artist in different media, combined with his work as a professional picture framer and collections manager, gives him insight into numerous aspects of the visual arts. Address He was the Preparator for the Saskatchewan Arts Board 2256 McIntyre Street, looking after the Permanent Collection for 12 years, Regina, Sask. and since 2003 he has been organizing and curating art S4P 2R9 exhibitions for the University Club on the University of Regina campus. Phone (306) 522-2745 Arnott has exhibited in solo and group shows across Canada and his works are in a number of public Email collections, most notably, the MacKenzie Art Gallery, the [email protected] Art Gallery of Hamilton, the Saskatchewan Arts Board and the Canada Council.