Ted Godwin: Last of the Regina Five

Total Page:16

File Type:pdf, Size:1020Kb

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. Attend an information session and get inspired by Gerald Forseth’s fascinating agenda for a maximum of ten travelers. Monday, October 22 at 7pm Tuesday, November 27 at 7pm Wednesday, January 30 at 7pm There is no cost or obligation for these informative FALL.2012 | evenings, but you must pre-register by calling 403.284.7640 ACAD TABLE OF CONTENTS 4–5 President’s Message: (Re)imagining the Future 6–7 VPRAA’s Message: OF LIGHT AND LUSTRE: Nurturing creative talent, wherever it’s found Foldforming brings new artistry to metal PROFILE: Andrea Strand 8–9 PROFILES: Luann Johnson | Kris Weinmann 18–19 melinda topilko | Carter Storozynski ALEX JANVIER: Retrospective show Christine Pedersen BEES IN BERLIN: Art Collective builds international brand NATIONAL DREAMS: MASS MoCA 10–11 focuses on Canadian art PROFILES: Xerxes Irani | Dick Averns LOOMING LARGE: Computerized loom opens fibre horizons EXPO EXCELLENCE: ACAD front and centre at Comic & Entertainment Expo ANACHRONISMS IN CLAY: Bridging the worlds of fine art and crafts ACADEMIC LEADERSHIP: ACAD conferences explore critical inquiry of clay and glass TED GODWIN: Last of the Regina Five SKIN FOR SKIN: Animated film brings history to life 22–23 Annual EVENTS: Show-off and convocation put focus 14–15 on student work DONATION: The Illingworth Kerr Gallery benefits from benefactor’s gift 24–27 THE BOW: Encana Emerging Artist program ACAD IN ACTION: ACAD alumni honoured NATURAL W0NDER: Peruvian village’s beauty an inspiration FALL.2012 | ACAD PRESIDENT’S MESSAGE As we actively pursue academic and facility growth, we have identified three attractors to organize our evolu- tion: ACAD as an Educational Leader, ACAD as an Aca- demic Leader and ACAD as a Commu- nity Builder. A MESSAGE OF WELCOME WELCOME to THE ALBerta COLLEGE OF ART + DESIGN. CAD is in the midst of (re)imagining its future, The synergy of our programs and people with the and this inaugural magazine format for Catalyst dynamism of Calgary exemplifies the richness and A is part of our exciting evolution. As we enter diversity of our landscape. Nestled between the Rocky our 87th year, ACAD is a community dedicated to the Mountains and the Prairies, we have the freedom to pursuit of innovation and creativity. To be part of ACAD be intellectual, artistic or athletic. This sense of free is to become a member of a passionate, exception- will and entrepreneurialism grounds our institution. ally talented community of students, faculty and staff. It is in this same spirit that we are rolling out our strate- Catalyst is a portal into that world, sharing with you our gic plan for the next decade, “Inspiring Passionate Learn- hopes, dreams and passions, and the vision we have ing: ACAD’s Strategy for the Future.” The first step in this for our community. In these pages you will experience initiative is to restructure the college into four schools how we engage the world and create possibilities. and to develop a graduate program. We are in the final ACAD is a catalyst for creative inquiry and cultural stages of developing a Master of Fine Arts program in development in an academic art + design setting. Craft Media — the first of its kind in North America. As we actively pursue academic and facility growth, The study of art, craft and design is a search. It is an we have identified three attractors to organize our exploration of ideas, a celebration of creativity and inno- evolution: ACAD as an Educational Leader, ACAD as an vation and an understanding of what connects us to the Academic Leader and ACAD as a Community Builder. world. It is a way of seeing, a way of thinking about the tools and materials we use, our physical adornments OUR KEY GOALS ARE: and vestments and the environments we inhabit. • Realizing student potential in art, craft and design; It is to reflect on the extraordinary moments as • Delivering program excellence and pushing well as the ordinary ones. It is about understanding, boundaries of research and creativity; questioning, educating and enriching our environment • Inspiring creativity and innovation in the — ultimately enriching ourselves. We invite you to do communities we engage; this with us through these pages. FALL.2012 | • Ensuring sustainability and stewardship ACAD of our resources. Photo by Jennifer Wyma Jennifer by Photo Cynthia Moore, Board Member Kris Weinmann Sue Anne Valentine, Dr. Daniel Doz James Peacock, Roxanne McCaig, [BFA Painting, 2012] Board Member QC, Chairman of the Board Board Member WELCOME TO OUR COMMUNITY. ngaging our community is of prime importance at ACAD. From the Show + Sale to the gallery openings and Extended Studies, our doors are wide open Eto members of the arts community, industry stakeholders and the entire met- ropolitan community. We engage the world and create possibilities by maintaining a healthy community — both within ACAD and around the world. Dr. Doz and friends outside Art Central before the ACAD Jewellery & Metals Grad Exhibition opening on April 5, 2012. From left: Kim Alison Fraser, ACAD Director of Communica- tions; Dee Fontans, ACAD Jewel- lery + Metals Faculty; Emily Luce, Designer | Writer | Lethbridge College Faculty; Rod Sayers, Art- ist | BFA Jewellery + Metals, 1997 Wyma Jennifer by Photo | MFA at NSCAD in Sculpture; Dr. Daniel Doz, ACAD President Dr. Daniel Doz + CEO; Inaki Azpiazu, ACAD Ted Godwin Photo by Jared Sych Jared by Photo VCD Student Lacrampe Hannah by Photo FALL.2012 | ACAD Photo by Jennifer Wyma Jennifer by Photo Dr. Daniel Doz Kelley Abbey Denise Doz Adjusting a colourful scarf and black baubles carefully under white lapels, Dianne poses like a fashion model in ACAD’s notorious graffiti stairwell. “I wore this jacket and accessories to make sure the eated at a desk in a classroom, a blond woman in photos would work against the graffiti backdrop,” she a suit jacket with a warm smile listens attentively. says. The scene is a complex mixture of patterns, colour S At the desks that surround her in circular formation and fabric that speaks to her background in textiles and are seated ACAD students and members of the faculty and fashion. Dianne graduated with an honours bachelor leadership staff. The summer sun and mountains beckon of arts in Fashion and Textiles from Middlesex Univer- from the surrounding floor-to-ceiling windows, but this team sity, London during the 1970s punk rock era. She then is focused intently on planning a new graduate program. completed two years of post-graduate studies to earn It is Professor Dianne Taylor-Gearing’s first week in a Higher Diploma in Fine Art, Theatre Design from the Calgary, and her first on the job as ACAD’s Vice-President University of London, Slade School of Fine Art; and then of Research + Academic Affairs, and she is collaborating earned her post-graduate teaching certificate from Leeds with the dean, vice-presidents and students alike on what Metropolitan University. the shape of ACAD should be, and how the institution ACAD had been courting the professor for more than should approach developing an MFA in Craft Media. a year when plans for an academic restructuring initially Her work helping to develop cultural strategy for a partner- started to take shape. The restructuring is part of a 10-year ship between municipal government and community members strategic plan that will see ACAD move from having 11 in the U.K. — the Medway Cultural Partnership — comes in different programs to an institution with four schools, each handy here. led by a chair. As an elected Fellow of the Royal Society of An academic with impressive credentials, Dianne has more Arts (FRSA), and graduate of the Harvard Business School than 25 years of experience responding to shifting economic General Management Program (GMP11), Dianne has the and bureaucratic environments with bulletproof strategic education, qualifications and experience to help bring direction — whether delivering on some tough decisions the new academic structure to fruition. or leading the vision for a new post-secondary school. “I see the strategic plan as essential to the growth “I am committed to nurturing creative talent wherever of ACAD, and its role in preparing critical thinkers for it is found,” she says. Alberta’s rapidly expanding creative economy,” Dianne And she has done just that, on both sides of the Atlantic.
Recommended publications
  • 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,
    [Show full text]
  • 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.
    [Show full text]
  • 26727 Consignor Auction Catalogue Template
    Auction of Important Canadian & International Art September 24, 2020 AUCTION OF IMPORTANT CANADIAN & INTERNATIONAL ART LIVE AUCTION THURSDAY, SEPTEMBER 24TH AT 7:00 PM ROYAL ONTARIO MUSEUM 100 Queen’s Park (Queen’s Park at Bloor Street) Toronto, Ontario ON VIEW Please note: Viewings will be by appointment. Please contact our team or visit our website to arrange a viewing. COWLEY ABBOTT GALLERY 326 Dundas Street West, Toronto, Ontario JULY 8TH - SEPTEMBER 4TH Monday to Friday: 9:00 am to 5:00 pm SEPTEMBER 8TH - 24TH Monday to Friday: 9:00 am to 5:00 pm Saturdays: 11:00 am to 5:00 pm Sunday, September 20th: 11:00 am to 5:00 pm 326 Dundas Street West (across the street from the Art Gallery of Ontario) Toronto, Ontario M5T 1G5 416-479-9703 | 1-866-931-8415 (toll free) | [email protected] 2 COWLEY ABBOTT | September Auction 2020 Cowley Abbott Fine Art was founded as Consignor Canadian Fine Art in August 2013 as an innovative partnership within the Canadian Art industry between Rob Cowley, Lydia Abbott and Ryan Mayberry. In response to the changing landscape of the Canadian art market and art collecting practices, the frm acts to bridge the services of a retail gallery and auction business, specializing in consultation, valuation and professional presentation of Canadian art. Cowley Abbott has rapidly grown to be a leader in today’s competitive Canadian auction industry, holding semi-annual live auctions, as well as monthly online Canadian and International art auctions. Our frm also ofers services for private sales, charity auctions and formal appraisal services, including insurance, probate and donation.
    [Show full text]
  • 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.
    [Show full text]
  • Fine Canadian Art
    HEFFEL FINE ART AUCTION HOUSE HEFFEL FINE ART FINE CANADIAN ART FINE CANADIAN ART FINE CANADIAN ART NOVEMBER 27, 2014 HEFFEL FINE ART AUCTION HOUSE VANCOUVER • CALGARY • TORONTO • OTTAWA • MONTREAL HEFFEL FINE ART AUCTION HOUSE ISBN 978~1~927031~14~8 SALE THURSDAY, NOVEMBER 27, 2014, TORONTO FINE CANADIAN ART AUCTION THURSDAY, NOVEMBER 27, 2014 4 PM, CANADIAN POST~WAR & CONTEMPORARY ART 7 PM, FINE CANADIAN ART PARK HYATT HOTEL, QUEEN’S PARK BALLROOM 4 AVENUE ROAD, TORONTO PREVIEW AT HEFFEL GALLERY, VANCOUVER 2247 GRANVILLE STREET SATURDAY, NOVEMBER 1 THROUGH TUESDAY, NOVEMBER 4, 11 AM TO 6 PM PREVIEW AT GALERIE HEFFEL, MONTREAL 1840 RUE SHERBROOKE OUEST THURSDAY, NOVEMBER 13 THROUGH SATURDAY, NOVEMBER 15, 11 AM TO 6 PM PREVIEW AT UNIVERSITY OF TORONTO ART CENTRE 15 KING’S COLLEGE CIRCLE ENTRANCE OFF HART HOUSE CIRCLE SATURDAY, NOVEMBER 22 THROUGH WEDNESDAY, NOVEMBER 26, 10 AM TO 6 PM THURSDAY, NOVEMBER 27, 10 AM TO 12 PM HEFFEL GALLERY, TORONTO 13 HAZELTON AVENUE, TORONTO ONTARIO, CANADA M5R 2E1 TELEPHONE 416 961~6505, FAX 416 961~4245 TOLL FREE 1 800 528-9608 WWW.HEFFEL.COM HEFFEL FINE ART AUCTION HOUSE VANCOUVER • CALGARY • TORONTO • OTTAWA • MONTREAL HEFFEL FINE ART AUCTION HOUSE CATALOGUE SUBSCRIPTIONS A Division of Heffel Gallery Inc. Heffel Fine Art Auction House and Heffel Gallery Inc. regularly publish a variety of materials beneficial to the art collector. An TORONTO Annual Subscription entitles you to receive our Auction Catalogues 13 Hazelton Avenue, Toronto, Ontario M5R 2E1 and Auction Result Sheets. Our Annual Subscription Form can be Telephone 416 961~6505, Fax 416 961~4245 found on page 116 of this catalogue.
    [Show full text]
  • Une Bibliographie Commentée En Temps Réel : L'art De La Performance
    Une bibliographie commentée en temps réel : l’art de la performance au Québec et au Canada An Annotated Bibliography in Real Time : Performance Art in Quebec and Canada 2019 3e édition | 3rd Edition Barbara Clausen, Jade Boivin, Emmanuelle Choquette Éditions Artexte Dépôt légal, novembre 2019 Bibliothèque et Archives nationales du Québec Bibliothèque et Archives du Canada. ISBN : 978-2-923045-36-8 i Résumé | Abstract 2017 I. UNE BIBLIOGraPHIE COMMENTÉE 351 Volet III 1.11– 15.12. 2017 I. AN ANNOTATED BIBLIOGraPHY Lire la performance. Une exposition (1914-2019) de recherche et une série de discussions et de projections A B C D E F G H I Part III 1.11– 15.12. 2017 Reading Performance. A Research J K L M N O P Q R Exhibition and a Series of Discussions and Screenings S T U V W X Y Z Artexte, Montréal 321 Sites Web | Websites Geneviève Marcil 368 Des écrits sur la performance à la II. DOCUMENTATION 2015 | 2017 | 2019 performativité de l’écrit 369 From Writings on Performance to 2015 Writing as Performance Barbara Clausen. Emmanuelle Choquette 325 Discours en mouvement 370 Lieux et espaces de la recherche 328 Discourse in Motion 371 Research: Sites and Spaces 331 Volet I 30.4. – 20.6.2015 | Volet II 3.9 – Jade Boivin 24.10.201 372 La vidéo comme lieu Une bibliographie commentée en d’une mise en récit de soi temps réel : l’art de la performance au 374 Narrative of the Self in Video Art Québec et au Canada. Une exposition et une série de 2019 conférences Part I 30.4.
    [Show full text]
  • DAVEANDJENN Whenever It Hurts
    DAVEANDJENN Whenever It Hurts January 19 - February 23, 2019 Opening: Saturday January 19, 3 - 6 pm artists in attendance detail: “Play Bow” In association with TrépanierBaer Gallery, photos by: M.N. Hutchinson GENERAL HARDWARE CONTEMPORARY 1520 Queen Street West, Toronto, M6R 1A4 www.generalhardware.ca Hours: Wed. - Sat., 12 - 6 pm email: [email protected] 416-821-3060 DaveandJenn (David Foy and Jennifer Saleik) have collaborated since 2004. Foy was born in Edmonton, Alberta in 1982; Saleik in Velbert, Germany, in 1983. They graduated with distinction from the Alberta College of Art + Design in 2006, making their first appearance as DaveandJenn in the graduating exhibition. Experimenting with form and materials is an important aspect of their work, which includes painting, sculpture, installation, animation and digital video. Over the years they have developed a method of painting dense, rich worlds in between multiple layers of resin, slowly building up their final image in a manner that is reminiscent of celluloid animation, collage and Victorian shadow boxes. DaveandJenn are two times RBC Canadian Painting Competition finalists (2006, 2009), awarded the Lieutenant Governor of Alberta’s Biennial Emerging Artist Award (2010) and longlisted for the Sobey Art Award (2011). DaveandJenn’s work was included in the acclaimed “Oh Canada” exhibition curated by Denise Markonish at MASS MoCA – the largest survey of contemporary Canadian art ever produced outside of Canada. Their work can be found in both private and public collections throughout North America, including the Royal Bank of Canada, the Alberta Foundation for the Arts, the Calgary Municipal Collection and the Art Gallery of Hamilton.
    [Show full text]
  • Fall Winter 2006 Calendar English FINAL.Qxp
    carfac calendar CANADIAN ARTISTS’ REPRESENTATION/LE FRONT DES ARTISTES CANADIENS VOL. 9, NO. 2 FALL/WINTER 2006 IN THIS ISSUE FROM THE NATIONAL OFFICE 2 WIRED STUDIOS 3 A Report on CARFAC National 2006 AGM and Conference THE ART OF FUNDRAISING 6 A Report on the VANL-CARFAC 2006 Awareness Campaign on Art Donations CARFAC CELEBRATES AWARD-WINNING 8 MEMBERS A REPORT ON STATUS OF THE ARTIST 9 IN SASKATCHEWAN Government Responds to Committee on Status of the Artist CARFAC NORTHBOUND 10 CARFAC vNbu nN8ax3tk5 ckgw8N6 r[Z3g3t] 5 11 (] v3?] 4") srs3b3gu] Ms3iq5 THE LATEST FROM THE PROVINCES 12 CARFAC reports from coast to coast ASSOCIATION NEWS 16 An update from Canadian Conference of the Arts and Creators’ Rights Alliance CELEBRATING MIKE MACDONALD 17 CARFAC National Representative (1996-99, 2005-06) IN MEMORIUM 18 Pat Durr receives the CCA’s Keith Kelly Award for Cultural Leadership. See Page 8. Photo: Paul Galipeau FROM THE NATIONAL OFFICE This fall, CARFAC National is wired with activity. On Volume 9, No. 2, Fall/Winter 2006 November 3rd and 4th we held our National AGM and Canada Post Publication Agreement ISSN Number 1495-558X Conference in Fredericton. The weekend was jointly host- ed by CARFAC Maritimes. The theme of the conference CALENDAR is published twice yearly by Canadian Artists’ was Wired Studios: Visual Arts and the Internet, which Representation/Le front des artistes canadiens. seeks to answer the question: how can Canadian artists, Opinions expressed in this newsletter are the authors’ own, and often living in remote towns and villages, get their images do not necessarily represent those of CARFAC or its regional and message out there, exchange with the greater world offices.
    [Show full text]
  • Post-War & Contemporary
    heffel f ine Art Auction Auction ine Art h ouse post-war & contemporary art contemporary & post-war post-wAr & contemporAry Art Sale Thursday, november 26, 2015 · 4 Pm · ToronTo Post-wAr & contemPorAry Art Auction Thursday, November 26, 2015 4 PM Post-War & Contemporary Art 7 PM Fine Canadian Art Park Hyatt Hotel, Queen’s Park Ballroom 4 Avenue Road, Toronto Previews Heffel Gallery, Vancouver 2247 Granville Street Saturday, October 31 through Tuesday, November 3, 11 am to 6 pm Galerie Heffel, Montreal 1840 Rue Sherbrooke Ouest Thursday, November 12 through Saturday, November 14, 11 am to 6 pm University of Toronto Art Centre 15 King’s College Circle Entrance off Hart House Circle Saturday, November 21 through Wednesday, November 25, 10 am to 6 pm Thursday, November 26, 10 am to noon Heffel GAllery, toronto 13 & 15 Hazelton Avenue, Toronto Ontario, Canada M5R 2E1 Telephone 416-961-6505 Fax 416-961-4245 Toll Free 1-800-528-9608 www.heffel.com Heffel Fine Art Auction House Heffel.com Departments A Division of Heffel Gallery Inc. consiGnments toronto [email protected] 13 & 15 Hazelton Avenue, Toronto, Ontario M5R 2E1 APPrAisAls Telephone 416-961-6505, Fax 416-961-4245 [email protected] E–mail: [email protected], Internet: www.heffel.com Absentee And telePHone biddinG montreAl [email protected] 1840 rue Sherbrooke Ouest, Montreal, Quebec H3H 1E4 Telephone 514-939-6505, Fax 514-939-1100 sHiPPinG [email protected] Vancouver 2247 Granville Street, Vancouver, British Columbia V6H 3G1 subscriPtions Telephone 604-732-6505, Fax 604-732-4245 [email protected] ottAwA 451 Daly Avenue, Ottawa, Ontario K1N 6H6 Cao tAl Gue subscriPtions Telephone 613-230-6505, Fax 613-230-8884 Heffel Fine Art Auction House and Heffel Gallery Inc.
    [Show full text]
  • Terry Fenton Biography
    TERRY FENTON BIOGRAPHY Terry Fenton was born in 1940 in Regina, Saskatchewan. Beginning in 1958, he spent two years studying art at Regina College's School of Fine Art (now University of Regina) with Roy Kiyooka, Ronald Bloore, and Arthur McKay. Fenton then attended the Saskatoon campus to study English literature, receiving his Bachelor of Arts degree in 1962. In addition to post-graduate studies at the University of Regina (1965- 1966), Fenton attended artists' workshops at Emma Lake, Saskatchewan with Lawrence Alloway and John Cage (1965), Frank Stella (1967), and Michael Steiner (1969). Fenton's career as a curator, art critic, lecturer, consultant, and writer has seen him involved in numerous galleries and organizations in Saskatchewan, Alberta, and the United States. Fenton served as Assistant to the Director of the MacKenzie Art Gallery from 1965 to 1971, and since has been frequently involved with the Emma Lake Artists' workshops, the Edmonton Art Gallery, Saskatoon's Mendel Art Gallery, and the Saskatchewan Arts Alliance. Along with Anthony Caro and Anthon Loder, he co-founded the Triangle Artists Workshop in New York in 1982. Fenton has written many articles and books on a range of artists, including Anthony Caro and Kenneth Noland. Fenton's still life and landscape paintings and documentary photography have been exhibited throughout Canada and in New York. Fenton is particularly drawn to open prairie spaces that may to some appear sparse and empty. He writes: “Because of their apparent lack of scenery, the open prairies haven't been much painted by anyone. Even painters who've flourished in Saskatchewan have preferred the river valleys in the plains or the aspen parkland and forest to the north and east.
    [Show full text]
  • University of Regina Archives and Special Collections The
    UNIVERSITY OF REGINA ARCHIVES AND SPECIAL COLLECTIONS THE DR JOHN ARCHER LIBRARY 86-29 KEN LOCHHEAD SHELLEY SWEENEY JULY 31, 1986 REVISED JANUARY 2004 BY ELIZABETH SEITZ 86-29 KEN LOCHHEAD 2 / 24 Biographical Sketch Ken Lochhead was born in Ottawa in 1926. His major art training came from the Pennsylvania Academy of the Fine Arts in Philadelphia (1945-1949). At the same time Lochhead studied at the Barnes Foundation in Merlon, Philadelphia from 1946 to 1948. Several scholarships allowed him to study in England, Holland, Belgium, France, Spain, Italy, Switzerland, and western Canada. After several short assignments, Lochhead was hired by the University of Saskatchewan, Regina College in 1950 to direct the School of Art. He was also charged by Dean William Riddell to develop what became the Norman Mackenzie Art Gallery. Under Lochhead's guidance, both the School and the Gallery flourished, attracting vibrant personalities and generating excitement. At this time Lochhead developed a distinctive style, producing such notable works as "The Kite" (1952). "The Dignitary" and "The Bonspiel" (1954). As well, he began to win major commissions, completing an enormous wall mural at Gander Airport in Newfoundland in 1957-1958. It was Lochhead's creation of the Emma Lake Artists' Workshops, however, that attracted the most attention to the prairie region. With the summer series led by such New York artists as Herman Cherry, Barnett Newman, Kenneth Noland, and Jules Olitski, international attention was suddenly focused to the north. The results were tremendous: a veritable burst of excited experimentation and innovation. Lochhead himself produced such abstract works as "Blue Extension" and "Dark Green Centre" (1963).
    [Show full text]
  • THE TRIANGLE ARTS NETWORK – Contemporary Art and Transnational Production
    THE TRIANGLE ARTS NETWORK – Contemporary Art and Transnational Production by Miriam Aronowicz A thesis submitted in conformity with the requirements for the degree of Doctorate of Philosophy Department of Art University of Toronto © Copyright by Miriam Aronowicz 2016 The Triangle Arts Network: Contemporary Art and Transnational Production Miriam Aronowicz Doctor of Philosophy Department of Art University of Toronto 2016 Abstract This dissertation presents a historical overview and contemporary analysis of the Triangle Arts Network, an international network of artists and arts organizations that promotes the exchange of ideas and innovation within the contemporary arts. It was established in 1982 through a workshop held in Pine Plains, New York and quickly grew into an international network of artist led workshops around the world. More than twenty years later the network continues to grow and includes a roster of ongoing workshops as well as artist led organizations and centres. This dissertation situates Triangle as a major global phenomenon, yet one that operates outside the mainstream artscapes. My research follows the network’s historical links from Saskatchewan, Canada, to New York and onto South Africa. This web-like evolution demonstrates the complexity of global art networks and the fluidity of boundaries needed for contemporary art discourse. This research explores how the movement of ideas, artists and infrastructures complicate our understanding of clearly defined boundaries within contemporary ii art and globalization. Using Actor-Network Theory (ANT) as a metaphor for the Triangle Network, I attempt to unpack the complexities of an art system without objects, a process without product and the entangled relationships between artists, workshops and grassroots models of production.
    [Show full text]