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Saskatchewan Discovery Guide
saskatchewan discovery guide OFFICIAL VACATION AND ACCOMMODATION PLANNER CONTENTS 1 Contents Welcome.........................................................................................................................2 Need More Information? ...........................................................................................4 Saskatchewan Tourism Zones..................................................................................5 How to Use the Guide................................................................................................6 Saskatchewan at a Glance ........................................................................................9 Discover History • Culture • Urban Playgrounds • Nature .............................12 Outdoor Adventure Operators...............................................................................22 Regina..................................................................................................................... 40 Southern Saskatchewan.................................................................................... 76 Saskatoon .............................................................................................................. 158 Central Saskatchewan ....................................................................................... 194 Northern Saskatchewan.................................................................................... 276 Events Guide.............................................................................................................333 -
2018 January February
JANUARY / FEBRUARY, VOL. 30, NO. 1 Catchment No. 1 (2010) 2 CALLING ALL EMERGING WRITERS Are you interested in honing your critical art writing skills? Would you like to produce essays and reviews for art publications? APPLY TODAY for a spot in CARFAC SASK's NEW Critical Art Writing Mentorship Program with the chance for publication in BlackFlash Magazine! Deadline February 16, 2018 open to for more info Saskatchewan 306.522.9788 residents only [email protected] PRESENTED BY CARFAC SASK & BLACKFLASH MAGAZINE WITH FUNDING FROM 3 ContentsVol. 30 No. 1 JANUARY/FEBRUARY 2018 Has the Artist Been Heard? Feature article by Grant McConnell 4-7 CARFAC SASK Newsletter Who Dis? Meet the mentorship pairs 8 The CARFAC SASK Newsletter is published six times per year: January/February CARFAC Way Back 9-10 March/April May/June Welcome: New Staff Member July/August CARFAC SASK Newsletter Editor 11 September/October November/December Upcoming CARFAC Workshops 12-13 Deadline for copy is the 20th day of the month before publication. Introducing: Rent-a-Mentor Program 14-15 March/April deadline: February 20 Send to: [email protected] Exhibitions & Events 16-17 News 18 © CARFAC Saskatchewan 2017 Calls & Opportunities 19 Individual authors also hold copyright to their work. Written permission is Education & Workshops 20 required to reprint. Residencies 21 Grants and Awards 22-24 Note: Due to time and space restrictions all submissions cannot be thoroughly checked or all information Membership 25 printed. Use contact listed. Staff, Board, Contact 26 Material published in the CARFAC Saskatchewan Newsletter reflects the In Remembrance: Ursulina Stepan 27 view of the author and not necessarily the view of CARFAC Saskatchewan. -
Contributors
Contributors Andres Ajens is a Chilean poet, essayist, and translator. His latest works include /E (Das Kapital, 2015) and Bolivian Sea (Flying Island, 2015). He co-directs lntemperie Ediciones (www.intemperie. cl) and Mar con Soroche (www.intemperie.cl/soroche.htm). In English: quase ftanders, quase extramadura, translated by Erin Moure from Mas intimas mistura (La Mano Izquierda, 2008), and Poetry After the Invention ofAmerica: D on't L ight the Flower, translated by Michelle Gil-Montero (Palgrave Macmillan, 2011). Mike Borkent holds a doctorate from and teaches at the University of British Columbia. His research focuses on cognitive approaches to multimodal literatures, focusing on North American visual poetry and graphic narratives. He recently co-edited the volume Language and the Creative Mind (CSLI 2013) with Barbara Dancygier and Jennifer Hinnell, and has authored several articles and reviews on poetry, comics, and criticism. He was also the head developer and co-author of CanLit Guides (www. canlitguides.ca) for the journal Canadian L iterature (2011-14). Hailing from Africadia (Black Nova Scotia), George Elliott Clarke is a founder of the field of African-Canadian literature. Revered as a poet, he is currently the (4th) Poet Laureate of T oronto (2012-15). The poems appearing here are from his epic, "Canticles," due out in November 2016 from Guernica Editions. Ruth Cuthand was born in Prince Albert and grew up in various communities throughout Alberta and Saskatchewan. With her Plains Cree heritage, Cuthand's practice explores the frictions between cultures, the failures of representation, and the political uses of anger. Her mid-career retrospective exhibition, Back Talk, curated by Jen Budney from the Mendel Art Gallery in Saskatoon, has been touring Canada since 2011. -
Art of the Peace Symposium ‘07 the Prairie Art Gallery: 7 8 13 25 Contents 14 20 16 Steve Mills
A Publication for the Visual Arts Fall/Winter 2007 Issue 9 of the Peace www.artofthepeace.ca Brian Jungen: A DEEPER WELL Symposium ‘07 Deryk Houston: Cultivating a Place of Peace Open to Interpretation: Three Peace River Artists ollege C O NCE RT SER IES Mark O’Connor’s For further information hot swing please call GPRC Fine Arts at 780-539-2443 November 21, 2007 All performances at DJ Cardinal Performing Arts Centre Chatham Baroque January 11, 2008 Robert Silverman February 14, 2008 Ensemble Caprice baroque turbulence February 24, 2008 Camerata Nordica sweden March 16, 2008 Rising Again? Deryk Houston Workshops in Progress Art of the Peace Symposium ‘07 The Prairie Art Gallery: 7 8 13 25 contents 14 20 16 Steve Mills Brian Jungen Open to Interpretation art out there... 4 the BUSINESS of art 10 Art Books in Review 12 Artists with Issues 19 education & opportunities 22 The Last Word 26 Editor: Wendy Stefansson ©All rights reserved Art of the Peace Editorial Committee: Dale Syrota, Carrie Klukas 2007 Design, Layout & Advertising: imageDESIGN Art of the Peace Visual Arts Association Contributors: Jody Farrell, Wendy Stefansson, Ellen Corea acknowledges the financial assistance of: Reproduction in whole or in part is Publisher: Art of the Peace Visual Arts Association, strictly prohibited. c/o The Prairie Art Gallery, The Alberta Foundation for the Arts Suite #103, 9856 - 97 Street, Grande Prairie, AB T8V 7K2 Art of the Peace makes every effort to Ph: (780) 532-8111; [email protected] ensure the accuracy of the information Printing: Menzies Printers it publishes, but cannot be held respon- Cover: Prototype for New Understanding #5, 1999, Nike Air Jordans, City of Grande Prairie Arts Development Fund sible for any consequences arising from human hair. -
Concepts of Spirituality in 'Th Works of Robert Houle and Otto Rogers Wxth Special Consideration to Images of the Land
CONCEPTS OF SPIRITUALITY IN 'TH WORKS OF ROBERT HOULE AND OTTO ROGERS WXTH SPECIAL CONSIDERATION TO IMAGES OF THE LAND Nooshfar B, Ahan, BCom A thesis submitted to the Faculty of Graduate Studies and Research in partial filfillment of the requïrements for the degree of Master of Arts Department of Art History Carleton University Ottawa, Ontario 6 December 2000 O 2000, Nooshfar B. Ahan Bibliothéque nationale du Canada Acquisitions and Acquisitions et Bibliographic Services services bibIiographiques 395 Wellington Street 395. rue Wellington Ottawa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada your me voue rélèreoca Our file Notre reMrence The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microfomq vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fkom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. This thesis examines the use of landscape motifs by two contemporary Canadian artists to express their spiritual aspirations. Both Robert Houle and Otto Rogers, inspired by the Canadian prairie landscape, employ its abstracted form to convey their respective spiritual ideas. -
2018 /2019 Community Report
2018/2019 Community Report NOVEMBER 1, 2018 TO DECEMBER 31, 2019 GUIDING PRINCIPLES Vision Enriching our community by inspiring participation in the visual arts. Mission Providing opportunities for people to express, experience, and learn creatively through art. Mandate Serving our region through our developing collections, exhibitions, education, and public programs, we are a leading resource for creativity. Core Values Serving the Public Good Leading Through Excellence Ethical & Transparent Inspiring & Innovative Inclusive & Inviting Responsible Social Engagement ACKNOWLEDGMENTS The Woodstock Art Gallery is situated on the traditional territories of the Indigenous Peoples and covered by the Upper Canada Treaties. We acknowledge the history of the traditional territory on which the Woodstock Art Gallery stands. We also respect the longstanding relationships of the local Indigenous groups of this land and place in Southwestern Ontario. 01 1 MESSAGE FROM THE ADVISORY BOARD The fall of 2018 and 2019 marked two as Past Chair at the end of 2019. On behalf significant contributions towards the long-term of the Woodstock Art Gallery, I would like to sustainability of the Woodstock Art Gallery acknowledge and thank Carol for her dedicated (WAG). The first was the naming of the Toyota service, her passion and commitment towards Motor Manufacturing Canada (TMMC) Art the promotion of the importance of the visual Education Studio. One of the most active and arts in daily life. The Gallery has welcomed exciting places in the Gallery, the TMMC Art three new members to the Board. Martha Education Studio is a unique place of learning Gingerich, Jay Heaman and prominent artist and creative experimentation serving children, and recent Order of Canada recipient Maxine teens, adults and seniors. -
The Alberta Foundation for the Arts Travelling Exhibition Program Now Is the Winter
Interpretive Guide & Hands-on Activities The Alberta Foundation for the Arts Travelling Exhibition Program Now is the winter... The Alberta Foundation for the Arts Travelling Exhibition Program The Interpretive Guide The Art Gallery of Alberta is pleased to present your community with a selection from its Travelling Exhibition Program. This is one of several exhibitions distributed by the Art Gallery of Alberta as part of the Alberta Foundation for the Arts Travelling Exhibition Program. This Interpretive Guide has been specifically designed to complement the exhibition you are now hosting. The suggested topics for discussion and accompanying activities can act as a guide to increase your viewers’ enjoyment and to assist you in developing programs to complement the exhibition. Questions and activities have been included at both elementary and advanced levels for younger and older visitors. At the Elementary School Level the Alberta Art Curriculum includes four components to provide students with a variety of experiences. These are: Reflection: Responses to visual forms in nature, designed objects and artworks Depiction: Development of imagery based on notions of realism Composition: Organization of images and their qualities in the creation of visual art Expression: Use of art materials as a vehicle for expressing statements The Secondary Level focuses on three major components of visual learning. These are: Drawings: Examining the ways we record visual information and discoveries Encounters: Meeting and responding to visual imagery Composition: Analyzing the ways images are put together to create meaning The activities in the Interpretive Guide address one or more of the above components and are generally suited for adaptation to a range of grade levels. -
Ayapaahipiihk Naahkouhk
ILAJ YEARS/ANS parkscanada.gc.ca / parcscanada.gc.ca AYAPAAHIPIIHK NAAHKOUHK RESILIENCE RESISTANCE LU PORTRAY DU MICHIF MÉTIS ART l880 - 2011 Parks Parcs Canada Canada Canada RESILIENCE / RESISTANCE MÉTIS ART, 1880 - 2011 kc adams • jason baerg • maria beacham and eleanor beacham folster • christi belcourt bob boyer • marie grant breland • scott duffee - rosalie favell -Julie flett - Stephen foster david garneau • danis goulet • david hannan • rosalie laplante laroque - jim logan Caroline monnet • tannis nielsen • adeline pelletier dit racette • edward poitras • rick rivet BATOCHE NATIONAL HISTORIC SITE PARKS CANADA June 21 - September 15, 2011 Curated by: Sherry Farrell Racette BOB BOYER Dance of Life, Dance of Death, 1992 oil and acrylic on blanket, rawhide permanent collection of the Saskatchewan Arts Board RESILIENCE / RESISTANCE: METIS ART, 1880-2011 TABLE OF CONTENTS Foreword 4 Aypaashpiihk, Naashkouhk: Lii Portray dii Michif 1880 - 2011 5 Curator's Statement 7 kcadams 8 jason baerg 9 maria beacham and eleanor beacham folster 10 christi belcourt 11 bob boyer 12 marie grant breland 13 scott duffee 14 rosaliefavell 15 Julie flett 16 Stephen foster 17 david garneau 18 danis goulet 19 david hannan 20 rosalie laplante laroque 21 jim logan 22 Caroline monnet 23 tannis nielsen 24 adeline pelletier dit racette 25 edward poitras 26 rick rivet 27 Notes 28 Works in the Exhibition 30 Credits 32 3 Resilience/Resistance gallery installation shot FOREWORD Batoche National Historic Site of Canada is proud to host RESILIENCE / RESISTANCE: MÉTIS ART, 1880-2011, the first Metis- specific exhibition since 1985. Funded by the Government of Canada, this is one of eighteen projects designed to help Métis com munities preserve and celebrate their history and culture as well as present their rich heritage to all Canadians. -
Knowledge Organiser: How Do Artists Represent Their Environment
Knowledge Organiser: How do Artists represent their environment through painting? Timeline of key events 1972 – Three First Nations artists did a joint exhibition in Winnipeg 1973 – Following the success of the exhibition, three artists plus four more, created Indian Group Of Seven to represent Indian art and give it value and recognition. 1975 – Group disbanded Key Information Artists choose to work in a particular medium and style. They represent the world as they see it. Key Places Winnipeg, Manitoba, Ontario, British Columbia, Alberta Key Figures Daphne Odjig 1919 – 2016 Woodland style, Ontario; moved to British Columbia Alex Janvier 1935 – present Abstract, represent hide-painting, quill work and bead work; Alberta Jackson Beardy 1944 - 1984, Scenes from Ojibwe and Cree oral traditions, focusing on relationships between humans and nature. Manitoba. Eddy Cobiness 1933 – 1996 Life outdoors and nature; born USA moved to winnipeg Norval Morrisseau 1931 – 2007 Woodland stlye; Ontario, also known as Copper Thunderbird Carl Ray 1943 – 1978 Woodland style, electrifying colour (founder member); Ontario Joseph Sanchez 1948 – present Spritual Surrealist; Born USA moved to Manitoba Christi Belcourt 1966 – present Metis visual artist, often paints with dots in the style of Indian beading – Natural World; Ontario Key Skills Drawing and designing: Research First Nations artists. Identify which provinces of Canada they come from. Compare and contrast the works of the different artists. Take inspiration from the seven artists to plan an independent piece of art based on the relevant artist: • Give details (including own sketches) about the style of some notable artists, artisans and designers. • type of paint, brush strokes, tools Symbolic representation • Create original pieces that show a range of influences and styles based on the Indian Group of Seven and their work. -
MACKENZIE ART GALLERY Engaging People in Transformative Experiences of the World Through Art JOB POSTING Job Title: Director Of
MACKENZIE ART GALLERY engaging people in transformative experiences of the world through art JOB POSTING Job Title: Director of Programs (DoP) Reports to: Executive Director and CEO Department: Programs Status: Full-Time, Out-of-Scope Position, Contract position (five-year term) About the MacKenzie Art Gallery The MacKenzie Art Gallery plays an important role in the Canadian and International art ecosystem. Programming primarily contemporary art from the prairies, Canada and abroad, the MacKenzie addresses an encyclopedic range of visual art and has a proud and consistent history of being an ally in exhibiting and collecting the work of Indigenous artists, with leadership from Indigenous curators. The MacKenzie is at a crucial point in our history where we are seeking to critically examine our own histories, failings, and opportunities as we redefine our role as a cultural institution within our community. We are seeking a visionary leader who can bring a spirit of care, thoughtfulness, play, experimentation, and responsibility to our artistic vision, guiding a professional team to work collaboratively with each other, with artists, and our broader community. Opening in 1953 on the University of Saskatchewan Regina Campus (now the University of Regina), in the first purpose-built art gallery building in western Canada, the MacKenzie enjoys a nationally unique partnership with the U of R. After separating in 1990, and moving to its current premises, MAG now maintains separate board governance, site and an expansive mandate and quarters in the T.C. (Tommy) Douglas Building. The MacKenzie features an outdoor sculpture garden with potential for growth through loans, acquisitions and commissions. -
MACKENZIE ART GALLERY Engaging People in Transformative Experiences of the World Through Art
MACKENZIE ART GALLERY engaging people in transformative experiences of the world through art Job Title: Communications Manager Department: Development & Communications Status: Full Time Out-of-Scope The Position: The MacKenzie Art Gallery is seeking a thoughtful and creative candidate to fill the role of Communications Manager. Our Mission is to provide transformative experiences through art; we aim to provoke ideas, emotions, and discussion with open-minded exploration; we are on treaty land and we are proud to be an ally in championing Indigenous artists; and we recognize that it is our responsibility to reflect our diverse communities and make the gallery a welcoming space. We encourage applicants who can help us live up to these ideals and create meaningful, reciprocal and innovate connections with our various communities. Reporting to the Director of Development, the Manager of Communications combines proven skills and experience to plan and implement the extensive communications and marketing needs of the MacKenzie. As an integral part of the senior leadership team, the Communications Manager will design, execute, and assess multi-year and annual marketing and communications strategies for the Gallery. As the leader of the Communications team at the MacKenzie Art Gallery, the Communications Manager helps build effective relationships across the organization and the community. The team gathers qualitative and quantitative data and feedback gathered through multiple communications channels, synthesizing communication impacts that can drive recommendations through the development of reports, analyses, and recommendations to the CEO and the senior leadership team. About the MacKenzie Art Gallery: The MacKenzie Art Gallery is Saskatchewan’s original and most comprehensive art museum, serving a leadership role in Western Canada. -
Indigenous History: Indigenous Art Practices from Contemporary Australia and Canada
Sydney College of the Arts The University of Sydney Doctor of Philosophy 2018 Thesis Towards an Indigenous History: Indigenous Art Practices from Contemporary Australia and Canada Rolande Souliere A thesis submitted in partial fulfilment of requirements for the degree of Doctor of Philosophy at Sydney College of the Arts, University of Sydney This is to certify that to the best of my knowledge, the content of this thesis is my own work. This thesis has not been submitted for any degree or other purposes. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. Rolande Souliere i ACKNOWLEDGEMENTS I would like to thank Dr. Lynette Riley for her assistance in the final process of writing this thesis. I would also like to thank and acknowledge Professor Valerie Harwood and Dr. Tom Loveday. Photographer Peter Endersbee (1949-2016) is most appreciated for the photographic documentation over my visual arts career. Many people have supported me during the research, the writing and thesis preparation. First, I would like to thank Sydney College of the Arts, University of Sydney for providing me with this wonderful opportunity, and Michipicoten First Nation, Canada, especially Linda Petersen, for their support and encouragement over the years. I would like to thank my family - children Chloe, Sam and Rohan, my sister Rita, and Kristi Arnold. A special thank you to my beloved mother Carolyn Souliere (deceased) for encouraging me to enrol in a visual arts degree. I dedicate this paper to her.