JOE FAFARD In Print / Imprimer
Joe Fafard, Sonny! Silkscreen on paper, edition 75/150 37.2 x 46.6 cm 1979
Education Guide Moose Jaw Museum & Art Gallery [email protected]
TABLE OF CONTENTS
CURRICULUM CONNECTIONS 1
PART I - INTRODUCTION 2-7
1. EXHIBITION ESSAY 2-4 2. INTRODUCTION TO: a. THE ARTIST 5 b. ART MEDIA 5-6 c. INSPIRATION 7
PART II – INTRODUCTION TO PRINTMAKING 8-9
1. BUILDING AN ART VOCABULARY 9
PART III – PRE-TOUR 9-14
1. FORMS OF PRINTMAKING 9 a. EMBOSSING 9-10 b. ETCHING 10-11 c. LITHOGRAPHY 11 d. SERIOGRAPH 12 e. SILKSCREEN 12-13 f. WOODBLOCK 13 2. ACTIVITY 14
PART IV – THE TOUR 14-18
1. FOCUS ATTENTION 14 2. INTRODUCE THE EXHIBITION 15 3. QUESTIONING STRATEGY 15 a. FIRST IMPRESSIONS 16 b. ANALYSIS 16-17 c. INTERPRETATION 17-18 d. CONTEXT 18 e. SYNTHESIS 18
PART V – ACTIVITIES 19-26
1. INTRODUCTION: HOW TO PRINT WITH A BRAYER (ROLLER) 19 2. MONOPRINTS WITH TIN FOIL 19-20 3. MONOPRINTS WITH GLASS OR PLEXIGLASS 21 4. LINOCUT PRINTS USING FOAM PLATES 22-23 5. LINOCUT PRINTS USING EASY BLOCKS 24-25 6. EMBOSS PRINTING 25-26
PART VI – MORE INFORMATION 27-48
1. BIOGRAPHY OF JOE FAFARD 27-28 2. CURRICULUM VITAE OF JOE FAFARD 28-38 3. LIST OF WORKS 39-44 4. RESOURCE MATERIAL 45 5. OSAC TOUR SCHEDULE 46 6. OSAC INFORMATION 47-48
PART VII – ADDITIONAL RESOURCES 49-52
1. ADDITIONAL HANDS-ON ACTIVITIES 50 2. PRE-TOUR ACTIVITY – QUESTIONS 51 3. KIT SAMPLES 52
Curriculum Connections
Social Studies Farming in Saskatchewan
Our Community Saskatchewan Artists
Visual Arts Printmaking
1 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer PART I – Introduction
1. Essay Curated and organized by the Moose Jaw Museum & Art Gallery with funding assistance from the City of Moose Jaw, Saskatchewan Arts Board, SaskCulture, Saskatchewan Lotteries, and the Canada Council for the Arts.
Internationally renowned, Joe Fafard is one of Canada’s most recognized and prolific artists. Although Fafard may be best known for his work in clay, bronze and steel sculpture, drawing and printmaking have been sustained curiosities of his throughout his artistic practice. Whether three-dimensional or two-dimensional, his work is characterized by his connection to his rural Saskatchewan roots, his reverence for art history and his inquiry into form. The exhibition In Print/ Imprimer presents a small survey of prints that Fafard has produced over the course of his career, focusing on the subject matter he is clearly known for – cows, horses and other domesticated farm animals - and features a variety of printmaking processes that he has experimented with from the 1980s to the present, including screen printing, embossing, lithography, etching and wood block printing.
Drawing features prominently in this exhibition, from the build-up of form through markmaking, as in Calf Monet, to the reduction of form into line in the woodblock Rêve series, emphasizing how Fafard’s curiosity with drawing goes hand-in-hand with his exploration of form and illusion in space. Earlier serigraph images, like Sonny! and Piéta, created from a screen-printing process, reference Pop Art in their graphic aesthetic, while the lithograph August and serigraph Calf Monet, as the latter title suggests, reflect a more Impressionistic approach towards image making. Reduced to mere contours or outlines, the subjects in Joe’s Ark reflect Fafard’s masterful ease in capturing forms, gestures and movement with simple lines. Moving in varying degrees towards abstraction, the anatomy of the forms in the embossed and woodblock prints is broken down into pattern and embedded symbolic imagery. While the embossed images, Ophelia, Othello and Upstream, offer beautifully subtle forms, the Rêve woodblocks are arresting in their colourful
2 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer graphic quality. Reminiscent of Matisse’s paper cut-outs, these images have fluid, exaggerated and almost lyrical forms. Perhaps in their subtlety, these works speak to the interconnection and dependence of human existence on agriculture and nature.
Domesticated farm animals have been a significant focus of Fafard’s artistic inquiry, providing the perfect architecture for his investigation into form. They are his means of connecting to his roots and expressing the concerns of his time. They are metaphors, political statements, art historical references and objects of humour and delight. Whether in sculpture or drawing and printmaking, Fafard’s commitment to his inquiry info form and his ease in transitioning from one medium to another is truly inspiring.
Internationally acclaimed artist Joe Fafard was born to French-Canadian parents in the community of Ste. Marthe, Saskatchewan. He received a BFA from the University of Manitoba in 1966 and a MFA from Pennsylvania State University in 1968. He served on the faculty of Fine Arts at the University of Regina from 1968- 1974 and was a visiting lecturer at the University of California at Davis in 1980-1981. His work has been exhibited and included in public and private collections worldwide. Fafard is widely recognized as being at the forefront of his art and his outstanding contributions to the arts have significantly raised the profile of both Saskatchewan and Canada on the national stage. From 2007 to 2009, a retrospective of his work was organized and toured nationally by the National Gallery of Canada and the MacKenzie Art Gallery. Joe Fafard has been honoured with many awards over the span of his career, including the Order of Canada (1981), Saskatchewan Order of Merit (2002), Saskatchewan Arts Board Lifetime Achievement Award (2007) and an Honorary Doctorate degree from the University of Saskatchewan (2012). His work is represented by Slate Fine Art Gallery (Regina, SK), Darrell Bell Gallery (Saskatoon, SK), Mira Godard Gallery (Toronto, ON), Galerie de Bellefeuille (Montreal, QC), and JV Gallery (online).
Internationally renowned, Joe Fafard is one of Canada’s most recognized and prolific artists. Although Fafard may be best known for his work in clay, bronze and steel sculpture, drawing and printmaking have been sustained curiosities of his throughout his artistic practice. Whether three-dimensional or two-dimensional, his
3 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer work is characterized by his connection to his rural Saskatchewan roots, his reverence for art history and his inquiry into form. The exhibition In Print/ Imprimer presents both woodblock and embossed prints of cows, horses and bison, each series a response to or an extension of his laser-cut sculptural process. While the embossed images offer beautifully subtle forms, the woodblocks are arresting in their colourful graphic quality. Reminiscent of Matisse’s paper cut-outs, these images have fluid, exaggerated and almost lyrical forms. Moving in varying degrees towards abstraction, the anatomy of these forms is broken down into pattern and embedded symbolic imagery. Perhaps in their subtlety, these works speak to the interconnection and dependence of human existence on agriculture and nature.
4 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer 2. Introduction to: a. The Artist Joseph Hector Yvon Fafard was born September 2, 1942 in Ste. Marthe, which is a small farming community in Saskatchewan. He was the sixth child of twelve, and was brought up in a large Roman Catholic family. His father Léopold was a farmer. The family spoke only French until they attended school. b. Art Media Joe started out as a clay artist and through his lengthy career has branched out onto other mediums such as metal in bronze casting and laser cut sculptures. This work is more recognized as he has created a number of sculptures that are outdoor public sculptures which are seen across Canada. This exhibition reflects his drawing abilities and highlights the artist’s diversity in other art forms.
Clay s culpture
The artist forms a sculpture by hand from a block of clay Laser cut steel sculpture
Using a laser to cut aluminum sheets
from a drawing created by the artist
From the MacKenzie Art Gallery Collection
5 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer
Bronze casting
An intense process that changes a clay
sculpture into metal.
Mold that is made from clay sculpture
The mold is pieced together and prepared to have liquid metal poured inside
Finished art piece
Royal Sweet Diamond on Georgia Street, Vancouver, BC
6 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer c. Inspiration In the title “In Print/ Imprimer,” the word inprimer is French for word “to print”. Joe Fafard is a prolific artist who works in many different art forms. As a printmaker you can see that in his work as he explores serigraphs, silkscreen, lithograph, etchings, woodblocks and embossing. His subject matter goes back to his rural, farming background and continues to live on a farm to this day. Joe Fafard’s sculptures are a direct inspiration for his prints. When you look at work like Upstream, the raised surface comes from the metal version which he presses into the surface of damp watercolour paper. You can notice this in some of his other prints which are inspired by metal work.
http://www.azquotes.com/author/55621-Joe_Fafard 7 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer
PART II – Introduction to Printmaking
There is some confusion around the term original print in today’s world. Technology has brought artists many new opportunities to exploit commercial printing devices. Faced with the financial limitations of producing one of a kind images, artists are having those images photo reproduced by commercial printers. There reproductions are limited in number and the artists are signing them and calling them limited edition prints. These are being confused with original prints. This occurrence has led to the establishment of several Committees in the art world who have tried to define, the term original print. In the 1960's the Print Council of America and the Vienna Congress of Plastic Arts recommended that an original print would mean that; “the artist had developed the master image from which each successive impression was created through contact with an inked or uninked stone, block, plate, or screen that the artist had worked on himself.”1 Mechanical reproductions or copies of original art works are not presently considered original prints by the art establishment. 1. Building an Art Vocabulary in Print making
Edition - The artist prints a limited number of prints from his stone, block, plate, or screen. This limited number of prints is called an edition. The artist then signs each print and also includes on the print a notation such as 11/25, this tells the collector that 25 prints were in the edition and that this was the 11th one signed by the artist.
Multiple - a print exists in a multiple, an original work of art that exists in duplicate examples.
Proofs - A trial proof is a print which is pulled prior to the running of a limited edition. These are taken by the artist as work is in progress thus allowing for revisions.
1Jules Heller, Printmaking Today, Holt, Rinehart and Winston Inc. New York, 1972.
8 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer A printer’s proof is a print produced by the artist which he/she is satified with and which will be the standard by which the quality of the edition is measured.
Artist proof is a print which is not a part of the edition and which is retained by the artist for his own purposes
PART III – The Pre-Tour Recommended for all age groups
1. Forms of Printmaking used by the artist Printmaking is the process of making artworks by printing, normally on paper. Printmaking normally covers only the process of creating prints that have an element of originality, rather than just being a photographic reproduction of a painting. The process uses metal plates, linoleum, wood blocks, silk/synthetic fabric to execute this process. a. Embossing Embossing involves making a metal plate and a counter. The plate is mounted on a press and the paper is stamped between the plate and counter. This force of pressure pushes the stock into the plate, creating the impression.
Embossing produces a raised impression on your paper stock. There are two ways you can emboss your work at home: dry embossing and heat embossing. Dry embossing, also called relief embossing, is done by tracing a stencil with some paper over it with a special tool called a stylus to get the raised effect on it.
9 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer Heat embossing, also referred to as stamp and heat embossing, is done by stamping an image on a piece of paper, sprinkling powder over the stamped image, and then applying heat
.
http://www.uniquefoiling.com/embossing.html b. Etching
It is traditionally the process that uses strong acid to cut into the unprotected parts of a metal surface to create a design metal. The plates used are usually copper, zinc or steel and are initially covered with a waxy surface that is resistant to acid. The artist is able to scratch into the surface to create an image which once exposed to acid will only eat away at the scratched areas. Once the image is complete, the plate is cleaned off and inked and put through a high-pressure printing press with a sheet of paper over it to create an impression.
10 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer
https://jackbaumgartner.files.wordpress.com/2009/12/img_5110.jpg c. Lithograph
According to Art.com, lithographs are "created using a printing technique based on the principle that oil and water do not mix." A picture is made on a stone or a piece of aluminum using an oil-based ink or crayon. Water is added to the places that aren't covered with the oily substance. An oily ink is then applied to the whole surface area. It sticks only to the portions that have been covered with the oily chemical. The other portions, which were not created using oily ink or crayon, will repel the ink.
https://www.cfeva.org/events/direct-dialogues/integratingprintmakingintoyourpractice
11 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer d. Seriograph
Because the chemicals in the inks used to eat the through the silk, people use other materials like polyester, nylon or steel mesh to make the screen. According to WiseGeek.com, this process works on the stencil principle. Mesh is pulled taught. Then portions of the mesh are covered, and ink to passed through only the portions that remain uncovered. Many T-shirt manufacturers use this technique to print designs on their shirts. It's also used in fine art printing
http://www.colorboardsystems.com/wp-content/uploads/2014/04/serigraphie_2.jpg e. Silkscreen
A printing technique whereby a mesh is used to transfer ink onto a substrate, except in areas made impermeable to the ink by a blocking stencil. A blade or squeegee is moved across the screen to fill the open mesh apertures with ink, and a reverse stroke then causes the screen to touch the substrate momentarily along a line of contact. This causes the ink to wet the substrate and be pulled out of the mesh apertures as the screen springs back after the blade has passed.
12 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer
https://kellyjcallahan.wordpress.com/2009/10/20/just-hit-print-screen-printing/ f. Woodblock The wood block is carefully prepared as a relief pattern, which means the areas to show 'white' are cut away with a knife, chisel, or sandpaper leaving the characters or image to show in 'black' at the original surface level. The block was cut along the grain of the wood. It is necessary only to ink the block and bring it into firm and even contact with the paper or cloth to achieve an acceptable print. The content would of course print "in reverse" or mirror-image, a further complication when text was involved. The art of carving the woodcut is technically known as xylography, though the term is rarely used in English.
http://www.designboom.com/art/star-wars-woodblock-printing-07-15-2015/
13 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer 2. Activity In the provided kit (at the back of the education guide), have the students look at how the image is transferred from the drawing to the plate surface. See if the students can figure out the process involved by looking at the above description. Once this is reviewed, have the students go into the exhibition and see if they can figure out what processes Joe Fafard uses.
PART IV – The Tour
1. Focus Attention Provide an opportunity for all members of the group to participate. Ask some questions which focus the group’s attention and introduce some key concepts in the exhibition. Invite participants to consider their own experiences. How many of you have seen an art exhibition before? What did you see? What do you expect to see today? Why do artists make ART? What materials do they use? How do art works communicate ideas?
14 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer 2. Introduce the Exhibition The viewing process often involves dialogue-either a silent one between the viewer and the work of art or a verbal one involving two or more viewers discussing an artwork. You are a catalyst. Your task is to stimulate dialogue and initiate discussion. You will not tell a group about each work. You will supply some information at appropriate points.
What is the title of this exhibition and where did it come from? Today you will be looking at the exhibit In Print/ Imprimer. The exhibition was organized by the Moose Jaw Museum & Art Gallery and is touring the province through the Organization of Saskatchewan Arts Councils’ (OSAC) Arts on the Move touring exhibition program.
Why has this exhibition come to your (our) community? The exhibition is being toured by OSAC to communities like yours throughout Saskatchewan. OSAC is a non-profit organization of groups of volunteers in over 50 Saskatchewan towns and cities across the province. The vision of OSAC is that the arts will be integrated into the lives of Saskatchewan people through assisting the arts council members in developing, promoting and programming the performing and visual arts. Before we talk about the images, I would like each of you to quietly walk through the exhibition and look at all the work. We will take about 5 minutes to do this, and then meet back here to talk about what you saw.
3. Questioning Strategy The purpose of questioning is to set up conditions for learning. Questions can focus the group’s attention on specific concepts or ideas. Following are a wide range of questions. They are presented to offer you options and stimulate your thoughts. A good questioning strategy starts with good knowledge of the exhibition being presented. See background information about the artist and the exhibition. Questions should be: Clear in their meaning Easily understood Simple Specific Definite and direct Thought provoking and challenging 15 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer a. First Impressions Gather the group together and ask guiding questions that will allow them to describe their first impressions of the exhibition. Begin by focusing on one artwork. Ask the following questions in order.
What is the first word that comes into your mind when you look at this artwork? Record their answers on a large sheet of paper with a marker. Collect as many words as possible. Select one word from the list.
What has the artist done, specifically, to make you think of the word ______? The viewer may describe what they see in the artwork. This will generally lead the viewer from an initial impression into a more analytical exploration of details. Subjects Lines Techniques Colours Textures Space Shapes b. Analysis Analysis is a process of gathering evidence. This step acknowledges that the artist has manipulated the materials (media) and the elements in such a way as to elicit the viewer’s first impression. The group will compare and contrast visual elements, analyze relationships among visual elements and gather evidence that leads to meaning in the work. Begin by taking a visual inventory of the formal elements, such as, line, colour, shape and texture and describe how the artist has used these elements in the artwork. (Refer to Part I: Vocabulary/Glossary.)
Ask the following:
What do you notice first and where does your eye travel from there? What other details do you see in this artwork? What techniques and devices (medium) did the artist use?
16 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer What do you see up close, and what is noticeable far away? What visual elements are repeated? Compare this artwork with another work in the exhibition. What is different and what is the same? What shapes or symbols have you seen before? Where? How did the artist use colour? What effect did the artist achieve through their use of colour? To what effect did the artist use line? Do the lines draw your eye along any particular path of movement? Do they emphasize any one part of the work? Are the shapes you see geometric or organic? What effect did the artist achieve through her choice? What role does contrast play in this work?
Artists are aware of our expectations and cultural conditioning. They can use them when planning the impact of their work. Sometimes they deliberately challenge our ways of thinking.
Find works that challenge what we believe or know. What looks different than what we expect to see? c. Interpretation At this stage, you will be asking questions that encourage the group to explain the meaning they discover in the works. Comparing works often makes the interpretation process flow more easily.
Please ask the following questions: If this artwork were the cover of a CD, what kind of music would it be? If this artwork were the cover of a book, what would the book be about? Do the art works tell stories? Which ones? What stories? What symbols does the artist use? Where do these symbols come from? What do you think they mean?
17 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer What was the artist’s purpose in creating these works? (See background information of artists and exhibition) Do these artworks speak of the past, present or the future?
Remember that there is no right or wrong answer to any question! d. Context Information about the artist and the exhibition (found in the background information section of this education package) can be shared with participants during the tour as the opportunity arises. Split this information up, especially for younger students. Too much lecturing on the part of the tour leader breaks the momentum of the tour. If you were able to give this artwork a title, what would the title be? What title do you think the artist chose for this artwork? (Look on the title card to see what title the artist chose for the artwork.) Now that you know what title the artist has given this artwork, does it bring new meaning to the work? e. Synthesis Now it is time to combine all of the information gathered during the stages of: First Impressions, Analysis, Interpretation and Context, so the viewer may arrive at a personal evaluation of the artwork.
Ask the following: What will you remember most about this artwork?
What is its significance to the community?
Next, review the artist’s intent (refer to the Background Information, Artists). Compare the artist’s intent with the viewer’s personal interpretation and evaluation.
Ask the following: Did the artists achieve their purpose?
What one thing will you remember most about this exhibition?
18 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer PART V – Activities
Introduction: How to print with a Brayer (roller)
1. Place a small amount of ink on the plexiglass, cookie tray or glass sheet. 2. Roll both ways to allow the roller to evenly pick up the ink. Roll until the ink comes up in little "points". 3. Roll away from yourself slowly - to pick up ink. 4. Roll toward yourself quickly - to remove excess ink. 5. Once the roller is "inked", roll onto the printing plate. You probably have to go through this process several times before enough ink is placed on the plate. 6. Once the printing plate or block is "inked", place paper on top and using either your hand or a wooden spoon, rub lightly over the surface of the paper. 7. Remove paper and repeat process for more prints.
1. Monoprints with tin foil (Good for young audience)
Students will learn how to make monoprints using aluminum foil. Monoprinting is a process whereby only one print is pulled from the printing plate.
What You Need:
foil tempera paint (different colors) cotton swab brushes (larger is the better) white paper water
What You Do:
1. Have foil precut down into sheets a little bigger than the paper you will be using.
19 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer 2. Students then paint a picture quickly onto the foil making sure the paint application is thick so that it does not dry too quickly. 3. Encourage students to use cotton swab to draw larger lines on surface.
4. When design is complete, place paper on top of paint and pat or gently rub on back of paper to get the paint to adhere to the paper. 5. Remove. 6. The result is a monoprint.
Note from Stacey: This can be modified for any grade level. I have done this with my severely disabled students. We changed it by having them only use two colors (primary colors), the result of course making a secondary color and not resulting in a puddle of mud. As an option, after the student has painted the entire piece of foil, place their hands onto the paint for a handprint. Then repeat paper application as done above remove to reveal the masterpiece. You can also randomly paint and then have the kids use their fingers to draw a picture in the paint. http://www.kinderart.com/printmaking/monofoil.shtml
20 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer 2. Monoprints with glass or plexiglass
What You Need:
A glass or plexiglass plate Water-based printmaking ink OR high quality acrylic paint A printmaking roller/brayer Paper Craft sticks, paintbrushes, cotton swabs Wax paper Paper towel
What You Do:
1. Gather your supplies. 2. Place a dab of ink on the plate. 3. Roll the ink out using a brayer. 4. Make some marks using a variety of tools (nothing too sharp!). I used a craft stick. 5. Lay the paper on the plate and rub lightly with your hand. 6. Remove the paper and let dry. 7. Clean the plate with warm water. 8. Cover your plate with another color 9. Cut some shapes out of cardboard, paper or - in my case - wax paper. Use these shapes to block out areas on the plate. 10. Place paper on the plate, taking care to "register" or make sure the printed area lines up with the plate. 11. Rub paper and remove carefully to reveal a really cool monoprint. 12. Clean the plate and make more prints!
http://www.kinderart.com/printmaking/gelliartsmonoprint.shtml
21 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer 3. Linocut Prints using foam plates (younger students)
A form of relief printing that makes use of readily available styrofoam meat and vegetable trays.
What You Need:
Water-based printmaking ink OR high quality acrylic paint Styrofoam meat trays. Scissors. Pencils. Paper. Carbon paper. Soft rubber brayer. You can substitute small paint rollers, or a spoon. Baron An old cookie tray or a piece of plexiglass to roll the ink out on.
What You Do:
1. First cut the edges off of the trays so that you have a flat surface to work on. 2. Draw an image onto a piece of paper (the same size as the tray) 3. Place the carbon paper between the drawing and foam plate (downward) and trace image FIRMLY onto foam plate using a pencil.
4. Take paper and carbon paper off plate and retrace image with pencil so there is an indentation.
22 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer 5. Ink brayer 6. You could instead use a paintbrush to cover over the styrofoam with paint or ink, lay the paper overtop, press lightly and voila. 7. Repeat until you have an edition of prints.
https://www.kinderart.com/printmaking/styro.shtml
23 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer 4. Linocut Prints using Easy blocks (Grade 7 & up)
http://thevirtualinstructor.com/reliefprinting.html
A lino print results when a piece of linoleum (either household or special lino you can purchase from an art supply store) has had pieces cut out of it, been inked and been printed. For this activity, sharp tools are required. For this reason, it is not recommended that you try this with children under the ages of eight or nine. ALWAYS have an adult present.
What You Need:
Water-based printmaking ink OR high quality acrylic paint Soft rubber brayers or small paint rollers or paint brushes. An old cookie tray or piece of plexiglass to roll the ink out on. Linoleum cutters. Easy-cut linoleum Paper Baron (used to rub paper on lino surface)
What You Do:
1. The tools used in this case are straight knives, V-shaped tools and U-shaped gouges. 2. The basic idea is that you cut away those areas you wish to remain the color of the paper you are printing on. The images can be as simple or as detailed as you wish.
24 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer 3. It is possible to draw your idea out on paper first, then transfer the image onto the linoleum using carbon paper. 4. Once the design has been carved into the block, you are ready to print. 5. In the brayer and place onto the easy-cut block. 6. Paper is placed on the plate and rubbed lightly. 7. Repeat until you have an edition of prints.
http://www.kinderart.com/printmaking/lino.shtml
5. Emboss Printing What You Need:
Newsprint Pencils Foam shapes glue Mat board/railroad board Watercolour paper (thicker, good quality) Rounded dowel Masking tape
25 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer What You Do:
1. Glue foam shapes onto mat board. 2. Glue the finished pattern onto a bigger piece of mat board and allow to dry. 3. Soak watercolour paper for at least 10 minutes and blot dry with newsprint. 4. Tape mat board template on watercolour paper (lightly so that it will peel off when done. 5. Use Dowel rounded end against edges of pattern to create a bend in the paper and sharp edge. This process needs to be done quickly over the whole surface before it dries. 6. Peel pattern off to complete work.
http://www.incredibleart.org/lessons/high/Ken-emboss.htm
PART VI – More 26 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer Information
1. Biography of Joe Fafard
Nationally and internationally acclaimed artist, Joe Fafard, was born to French-Canadian parents in the small agricultural community of Ste. Marthe, Saskatchewan. He attended the University of Manitoba (BFA 1966) and Pennsylvania State University (MFA 1968). He was at the University of Saskatchewan, Regina from 1968 – 1974 and visiting lecturer at the University of California at Davis in 1980-1981. Joe Fafard is a distinguished full-time artist and sculptor who currently resides on an acreage near Lumsden, Saskatchewan. Mr. Fafard is one of Canada’s leading professional visual artists and has exhibitions of a wide variety of work in galleries and museums across the country and around the world, including the United States, Great Britain, France and Japan. He is widely recognized as being at the forefront of his art, and his outstanding contributions to the arts have significantly raised the profile of both Saskatchewan and Canada on the national stage. He was named an Officer of the Order of Canada in 1981; awarded the Architectural Institute of Canada Allied Arts Award in 1987; received an honorary Degree from the University of Regina in 1989, and from the University of Manitoba in 2007; received the Saskatchewan Order of Merit in 2002; received the National Prix Montfort in 2003; received the Lieutenant Governor’s Saskatchewan Centennial Medal for the Arts in 2005; was named CTV Citizen of the Year in 2006; and the Saskatchewan Arts Board Lifetime Achievement Award in 2007. Joe Fafard received his 3rd honorary Doctorat degree from the University of Saskatchewan in June of 2012. Perhaps the pinnacle of his career was the touring Retrospective exhibition, hosted by 6 different venues, from September 2007 through September 2009, jointly organized by the National Gallery of Canada in Ottawa, and the Mackenzie Art Gallery in Regina. However, most recently, Joe Fafard was chosen to be honored by Canada Post in their “Art Canada” series of postage stamps, released February 23, 2012. Three of his artworks are featured on the domestic Canadian stamps, the USA stamps and the International stamps.
27 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer In the early 1970’s, much of his sculpture used clay as a medium. In 1985, he shifted to bronze as his chief sculptural medium, successfully establishing a foundry in Pense. His insight and humor characterize his portraits of neighbors, farm animals, wildlife, and famous artists that he came to respect as he learned his craft. His work in bronze is displayed across Canada and his “cows” have become one of his trademarks. Some say that Joe Fafard adds a sense of humor to his depiction of the everyday through his artwork; Joe says that he never really took it out... Quote from Joe: "I can't put a finger on what compels me to make these things, but I keep doing it anyway. Well, it is a good way to live and make a living. I'm quite happy about it!" For more on Saskatchewan artist, Joe Fafard, please view his website at: www.joefafard.com
2. Curriculum Vitae of Joe Fafard
EDUCATION
1966 B.F.A. University of Manitoba
1968 M.F.A. Pennsylvania State University
SOLO EXHIBITIONS
2016 Burnaby Art Gallery, Burnaby, BC - “Retailles” Moose Jaw Museum & Art Gallery, Moose Jaw, SK - “Retailles” Slate Gallery, Regina, SK - ‘’Mes Amis’’ 2015 Mira Godard Gallery, Toronto, ON - “Friendly Creatures” Slate Gallery, Regina, SK - “Mes Amis” 2013 Touring Exhibit; Pan-Canadian tour - ‘’A Tune to Art: Sculpture & Song’’
Emily Carr House, Victoria, BC - ‘’Joe Fafard works : Emily & Friends’’ 2012 Art Gallery of Regina, Regina, SK - ‘‘Joe Fafard : Cut-outs / Out-cuts’’
28 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer Pop-Up Fafard, Regina, SK - ‘’Joe Fafard Pop-up: Fresh Evidence’’ 2011 Douglas Udell Gallery, Vancouver, BC - ‘‘Fafard: works for the Olympics’’ Mira Godard Gallery, Toronto, ON - ‘‘Joe Fafard: New Work’’ Galerie de Bellefeuille, Montreal, QC- ‘‘Joe Fafard: New Work’’ 2010 Douglas Udell Gallery, Vancouver, BC - ‘‘Joe Fafard: 3 works for the Olympics’’
Darrell Bell Gallery, Saskatoon, SK - ‘‘Joe Fafard: An Evening with Joe Fafard’’ 2009 Douglas Udell Contemporary, Calgary, AB - ‘‘Joe Fafard: New Work, Lasers’’
Mira Godard Gallery; Toronto, ON - ‘‘Joe Fafard: Sculpture’’
2008 Douglas Udell Contemporary, Calgary, AB - ‘‘Joe Fafard: The ABC’s of Perception’’ 2007-2009 MacKenzie Art Gallery; Regina, SK- ‘‘Joe Fafard: Retrospective’’ . National Gallery of Canada; Ottawa, ON - ‘‘Joe Fafard : Retrospective’’ . McMichael Canadian Art Collection, Kleinburg, ON - ‘‘Joe Fafard : Retrospective’’ . Art Gallery of Nova Scotia; Halifax, NS - ‘‘Joe Fafard: Retrospective’’ . Glenbow Museum, Calgary, AB - ‘‘Joe Fafard: Retrospective’’ . Winnipeg Art Gallery, Winnipeg, MB - ‘‘Joe Fafard: Retrospective’’ 2007 Nouveau Gallery, Regina, SK - ‘‘Joe Fafard: Does Size Matter?”
Douglas Udell Gallery, Edmonton, AB - ‘‘Joe Fafard: Running Horses’’ Mira Godard Gallery, Toronto, ON - ‘‘Joe Fafard: The Pasture’’ 2006 Galerie de Bellefeuille, Montréal, QC - “Joe Fafard: Figures and other work”
2005 Mayberry Fine Arts, Winnipeg, MB - “Bronze Age: The Sculpture of Joe Fafard” 2004 Galerie de Bellefeuille, Montréal, QC - “Joe Fafard: New Work”
Mira Godard Gallery, Toronto, ON - “Joe Fafard: Farmyard Animals”
2003 Susan Whitney Gallery, Regina, SK - “Joe Fafard: New Work” Douglas Udell Gallery, Vancouver, BC - “Joe Fafard: New Work” Douglas Udell Gallery, Edmonton, AB - “Joe Fafard: New Work” 2002 Susan Whitney Gallery, Regina, SK - “Joe Fafard: New Work”
29 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer Douglas Udell Gallery, Vancouver, BC - “Joe Fafard: Valentina” Douglas Udell Gallery, Edmonton, AB - “Joe Fafard: Valentina” 2001 Galerie de Bellefeuille, Montréal, QC - “Joe Fafard “ 2000 Susan Whitney Gallery, Regina, SK - “Joe Fafard” Mira Godard Gallery, Toronto, ON - “Joe Fafard: Bronzes Big and Small”
1999 Artists for Kids Gallery, Vancouver, BC - “Joe Fafard: Artist and Animals” Douglas Udell Gallery, Vancouver, BC - “Joe Fafard: New Work” 1998 Mira Godard Gallery, Toronto, ON - “Joe Fafard: Bronze Tables and Drawings” Trepanier Baer Gallery, Calgary, AB - “Joe Fafard: New Exhibition” Susan Whitney Gallery, Regina, SK - “Joe Fafard” 1997 Douglas Udell Gallery, Edmonton, AB - “Joe Fafard 20th Anniversary”
1996 Waterton Park Museum of Natural History, Waterton, AB - “Sculpture in the Park” Douglas Udell Gallery, Vancouver, BC - “Joe Fafard” Trepanier Baer Gallery, Calgary, AB - “Plus: New Works” Mira Godard Gallery, Toronto, ON - “Joe Fafard: Celebrating the Retrospective” Montréal Museum of Fine Arts, Montréal, QC - “Joe Fafard: The Bronze Years” 1995 Susan Whitney Gallery, Regina, SK - “From The Domestic To The Majestic”
1994 Douglas Udell Gallery, Edmonton, AB - “Joe Fafard: New Work” Trepanier Baer Gallery, Calgary, AB - “Joe Fafard: The Horse Show”
1993 Susan Whitney Gallery, Regina, SK - “Joe Fafard” Mira Godard Gallery, Toronto, ON - “Joe Fafard”
1992 Douglas Udell Gallery, Vancouver, BC - “New Work”
1991 Woltjen/Udell Gallery, Edmonton, AB - “Joe Fafard” Mira Godard Gallery, Toronto, ON - “Joe Fafard” Susan Whitney Gallery, Regina, SK - “Joe Fafard” 1990 Mira Godard Gallery, Toronto, ON - “Recent Bronze Sculpture” Woltjen/Udell Gallery, Vancouver, BC
1989 Woltjen/Udell Gallery, Edmonton, AB - “Joe Fafard” 30 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer Susan Whitney Gallery, Regina, SK - “Joe Fafard”
1988 Mira Godard Gallery, Toronto, ON - “Joe Fafard”
1987 Woltjen/Udell Gallery, Vancouver, BC Dunlop Art Gallery, Regina, SK - “Joe Fafard: Cows and Other Luminaries” Mendel Art Gallery, Saskatoon, SK - “Joe Fafard: Cows and Other Luminaries” Susan Whitney Gallery, Regina, SK - “Joe Fafard” 1986 Joe Moran Gallery, Regina, SK - “Drawing in Sand”
Gallery Moos, Toronto, ON - “Joe Fafard” Woltjen/Udell Gallery, Edmonton, AB - “Joe Fafard: New Bronze Cows” 1985 Diane Ferris Gallery, Vancouver, BC - “Joe Fafard: A Survey”
1984 Susan Whitney Gallery, Regina, SK -“Joe Fafard”
1983 Brian Melnychenko Gallery, Winnipeg, MB - “Joe Fafard: Paintings”
Woltjen/Udell Gallery, Edmonton, AB - “Open Secrets” R.C. Dahl National Exhibition Centre, Swift Current, SK 1982 Galerie Don Stewart, Montréal, QC Susan Whitney Gallery, Regina, SK Thomas Gallery, Winnipeg, MB 1981 Gallery Moos, Toronto, ON
1980 Downstairs Gallery, Edmonton, AB
Susan Whitney Gallery, Regina, SK
1979 Edmonton Art Gallery, Edmonton, AB - travelling show
Downstairs Gallery, Edmonton, AB
Kesik Gallery, Regina, SK 1977 Downstairs Gallery, Edmonton, AB
Thomas Gallery, Winnipeg, MB
1975 Espace 5, Montréal, QC
Town Hall, Pense, SK 31 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer 1974 Sheridan Gallery, Sheridan College School of Design, Mississauga, ON
1973 University of Alberta Art Gallery and Museum, Edmonton, AB
The Winnipeg Art Gallery, Winnipeg, MB - “A Souvenir Album of Joe Fafard’s Pensées” The Glenbow – AB Gallery, Calgary, AB - “A Souvenir Album of Joe Fafard’s Pensées” Vancouver Art Gallery, Vancouver, BC - “A Souvenir Album of Joe Fafard’s Pensées” Dunlop Art Gallery, Regina, SK - “A Souvenir Album of Joe Fafard’s Pensées” 1972 Alberta College of Art, Calgary, AB - “Joe Fafard: Ceramic Pictures”
1970 Dunlop Art Gallery, Regina, SK
INTERNATIONAL SOLO EXHIBITS
1992 49th Parallel, Gallery For Contemporary Canadian Art, New York, NY 1990 Neville-Sargent Gallery, Chicago, ILL - “Recent Bronze Sculpture 1980 Davis Art Centre. Davis, CA
SELECTED GROUP AND INTERNATIONAL EXHIBITIONS
2014 Creative Saskatchewan, ‘’SOFA’’ Chicago (Michael Hosaluk) - ‘’Wild Thing : Prairie Concept’’ 2013 Musée de la civilisation, Québec, QC - ‘’Mission des franco-amériques’’ Darrell Bell Gallery, Saskatoon, SK -‘‘SOFA’’, New York City, NY 2012 CUBE Gallery, Ottawa, ON - ‘’Joe Fafard & Russ Yuristy : New Work’’ Darrell Bell Gallery, Saskatoon, SK - ‘‘SOFA’’, Santa Fe, NM 2011 Douglas Udell Gallery, Vancouver, BC - ‘‘30th Anniversary Fall Show'’ Douglas Udell Gallery, Vancouver, BC - ‘‘30th Anniversary Fall Show'’ 2010 Nouveau Gallery, Regina, SK - ‘‘Summer & Christmas Shows, 2008’’
2008 Galerie de Bellefeuille, Montréal, QC - “Art 2007”
32 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer 2006 Douglas Udell Gallery, Edmonton, AB - “Fall Show 2006”
Galerie de Bellefeuille, Montréal, QC - “International”
McKenzie Art Gallery et al. (London Museum; Burlington Art Centre, Kelowna Art Gallery) 2005 “Regina Clay: Worlds in the Making”, March 5, 2005 - June 10, 2006
Nouveau Gallery opening (formerly Susan Whitney Gallery), Regina, SK McKenzie Art Gallery, Regina, SK - “Chasing Amnesia” Chicago Art Fair, Chicago, Illiniois, USA - Galerie de Bellefeuille National Gallery of Canada, Shawinigan, QC - “Noah’s Ark” 2004 Rosemont Art Gallery, Neil Balkwell, Regina, SK - “Visage: Self Portraits” Toronto Zoo, Toronto, ON - “Zoo Arts Festival” Centre culturel franco-manitobain, St.Boniface, MB - “Extended Traditions”, 2003 Burlington Art Center, ON - “Fire & Earth”, virtual exhibition & museum Musée de la civilization, Québec, QC - “Forever Blue” Houston Center for Contemporary Art, Houston, TX - “Poetics of Clay: An International Perspective” 2002 Museum of Art & Design, Helsinki, Finland - “Poetics of Clay: An International Perspective” Susan Whitney Gallery in cooperation with Lyons Wier Gallery, New York, NY “Joe Fafard: Deep Prairie” Philadelphia Art Alliance, Philadelphia, PN - “Poetics of Clay: An International 2001 Douglas Udell Gallery, Edmonton, AB - “Spring Show ‘99”; June 5 to 19 1999 Mira Godard Gallery, Toronto; ON - “The Figure Show”; Sept 12 – 26
The Royal Canadian Academy of Arts in conjunction with the McKenzie Art Gallery 1998 Regina, SK - “Prairie Region Exhibition”
The Royal Canadian Academy of Arts in conjunction with The Winnipeg Gallery, Winnipeg, MB - “Prairie Region Exhibition” 1995 Vieux Port de Montréal, QC “Skultura“
33 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer 1994 Susan Whitney Gallery, Seattle Art Fair, Seattle, WA Susan Whitney Gallery, Annual American Art Exhibition, San Francisco, CA
1993 Susan Whitney Gallery, Regina, SK - “Auto Body Parts”
Los Angeles International Art Fair, Los Angeles, CA Douglas Udell Gallery, Edmonton, AB - “Choice 93” 1992 Susan Whitney Gallery, Regina, SK
Los Angeles International Art Fair, Los Angeles, CA Chicago International Art Forms Exposition, Navy Pier, Chicago, ILL The Gallery Building, Regina, SK- “Grand Western Canadian Screen Shop Artists” 1991 Susan Whitney Gallery, Regina, SK
Los Angeles International Art Fair, Los Angeles, CA
1990 Chicago International Art Forms Exposition, Navy Pier, Chicago, ILL
Susan Whitney Gallery, Regina, SK
1989 Chicago International Art Forms Exposition, Navy Pier, Chicago, ILL
1988 San Francisco State University Gallery, San Francisco, CA
Chicago International Art Forms Exposition, Navy Pier, Chicago, ILL
1987 University of the Pacific Gallery, Stockton, CA
Galerie Barbara Silverberg Contemporary Ceramics, Montréal, QC
1986 Susan Whitney Gallery, Regina, SK
Brussels, Belgium – “Human Touch, a Touch of Fever”
Rosemont Art Gallery, Regina, SK 1985 Rosemont Art Gallery, Regina, SK
Susan Whitney Gallery, Regina, SK Toronto Dominion Bank Tower, Toronto, ON Legislature Building, Regina, SK Chicago International Art Exposition, Chicago, ILL 34 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer 1984 Alberta College of Art Gallery, Calgary, AB
1983 Canada House, London, England
1982 London Regional Art College, London, ON 1981 Student Union Art Gallery, University of AB, Edmonton, AB Candy Store Gallery, Folsom, California
1980 Norman MacKenzie Art Gallery, University of Regina, Regina, SK
The National Gallery of Canada, Ottawa, ON
1979 University of Alberta Art Gallery and Museum, Edmonton, AB
The Edmonton Art Gallery, Edmonton, AB Glenbow-AB Institute, Calgary, AB Mendel Art Gallery, Saskatoon, SK Art Gallery of Windsor, Windsor, ON 1978 Norman MacKenzie Art Gallery, Regina, SK
Norman MacKenzie Art Gallery, Regina, SK The SK Arts Board’s Collection 1976 Glenbow-AB Institute, Calgary, AB Dalhousie University Art Gallery, Halifax, Nova Scotia
1974 The Art Gallery of Greater Victoria, Victoria, BC National Exhibition Centre, Swift Current, SK Espace 5, Montréal, Québec 1973 Art Gallery of Hamilton, Hamilton, ON
The Sensible Cup International Exhibition, Kanazawa City, Japan Peter Whyte Gallery, Banff, AB Art Gallery of ON, Toronto, ON New York Cultural Centre, New York, New York Musée d’Art Moderne de la Ville de Paris, Paris, France 1972 Mendel Art Gallery, Saskatoon, SK David Stuart Galleries, Los Angeles, California
35 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer Agnes Etherington Art Centre, Kingston, ON ACA Gallery, Calgary, AB 1971 Norman MacKenzie Art Gallery, Regina, SK
Dunlop Art Gallery, Regina, SK
Kitchener-Waterloo Art Gallery, Kitchener, ON 1970 Norman MacKenzie Art Gallery, Regina, SK
Moose Jaw Art Gallery, Moose Jaw, SK The Montréal Museum of Fine Arts, Montréal, Québec Art Gallery of ON, Toronto, ON 1969 Norman MacKenzie Art Gallery, University of Regina, Regina, SK
Public Collection Agnes Etherington Art Centre, Kingston, ON Art Gallery of Hamilton, Hamilton, ON Dunlop Art Gallery, Regina, SK
Division scolaire francophone no. 310 de la Saskatchewan; Regina, SK (École Monseigneur de Laval school)
Edmonton Art Gallery, Edmonton, AB
Glenbow Museum, Calgary; AB
Laurentian University Museum and Art Centre, Sudbury, ON
McDonald Stewart Art Centre; Guelph, ON
Maison des artistes, St. Boniface, MB
MacKenzie Art Gallery, Regina, SK
Mendel Art Gallery, Saskatoon, SK
Montréal Museum of Fine Arts/Musée de beaux arts, Montréal, QC
Musée des beaux arts de Sherbrooke, QC
36 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer National Gallery of Canada, Ottawa, ON
University of Toronto - Hart House, Toronto, ON
University of Regina, Regina, SK
University of Saskatchewan, Saskatoon, SK Vancouver Art Gallery, Vancouver, BC Ville de Québec, DO RE MI, Québec City, QC
Winnipeg Art Gallery, Winnipeg, MB
Corporate Collection Calgary Stampede Art Committee, Calgary, AB
Cameco Corporation, Saskatoon, SK Candarel, Montréal, QC
CBC Canadian Broadcasting Corporation,Regina, SK
CIBC Canadian Imperial Bank of Commerce, Toronto, ON
Cineplex-Odeon, Toronto, ON
Department of External Affairs, Ottawa, ON Heffel Fine Art Auction Houses, Vancouver, Toronto, Montréal
Holstein Canada, Brantford, ON
Imperial Oil, Toronto, ON
London Free Press, London, ON London Life, London, ON
Manitoba Hydro, Winnipeg, MB
MDC Corporation
Northern Telecom, Toronto, ON
Nova Corporation, Calgary, AB
37 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer Novartis Pharmaceuticals Canada Inc., Toronto, ON
PCL Construction, Edmonton, AB Polar Capital, Toronto, ON
Royal Bank of Canada, Toronto, ON Schneider Corporation, Toronto, ON Scotiabank Group Fine Arts Collection, Toronto, ON
Shaw Communications Inc., Calgary, AB Shell Oil Collection, Calgary, AB
Simkin/Gallagher, Winnipeg, MB
Sunquest Vacations, Toronto, ON TD Toronto Dominion Bank, Toronto, ON UBS Bank (Canada),Toronto, ON West Coast Reductions, Vancouver, BC Xerox
38 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer 3. List of the Work
Sonny! edition 75/150, silkscreen on paper, 1979, 37.2 x 46.6 cm, Collection of the MJM&AG
August, Artist Proof, lithograph, 45.4 x 38.2 cm, 1986, Collection of the artist
39 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer
Calf Monet, Artist Proof, seriograph, 56.7 x 67.7 cm, 1982, Collection of the artist
Pieta, edition 3/60, seriograph, 58.4 x 73.7 cm, 1980, Collection of the artist
Joe’s Ark, edition 12/15, etching, 30.1 x 36.7 cm, 2016, Collection of the artist
40 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer
Upstream, edition 5/5, rust embossing, 55.9 x 76.2 cm, 2012, Collection of the artist
Ophelia, edition 5/5, rust embossing, 55.9 x 76.2 cm, 2012, Collection of the artist
Othello, edition 2/5, embossed print on paper, 2012, 55.9 x 76.2 cm, Collection of the artist
41 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer
Rêve Bleu, edition 9/9, woodblock print on paper, 2010, 55.9 x 76.2 cm, Collection of the artist
Rêve Gris, edition 9/9, woodblock print on paper, 2010, 55.9 x 76.2 cm Collection of the artist
Rêve Jaune , Edition 9/9, Woodblock print on paper, 2010, 55.9 x 76.2 cm, Collection of the artist
42 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer
Rêve Pourpre, edition 9/9, woodblock print on paper, 2010, 55.9 x 76.2 cm, Collection of the artist
Rêve Rose, edition 9/9, woodblock print on paper, 2010, 55.9 x 76.2 cm, Collection of the artist
Rêve Rouge, edition 9/9, woodblock print on paper, 2010, 55.9 x 76.2 cm Collection of the artist
43 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer
Rêve Vert, edition 9/9, woodblock print on paper, 2010, 55.9 x 76.2 cm, Collection of the artist
Rêve Rouille, edition 9/9, woodblock print on paper, 2010, 55.9 x 76.2 cm, Collection of the artist
44 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer 4. Resource Material
What is printmaking. https://en.wikipedia.org/wiki/Printmaking
How to emboss. http://designinstruct.com/print-design/a-guide-to-popular-printing-techniques/
Lithograph vs serigraph. http://www.ehow.com/about_5457667_lithograph-vs-serigraph.html
What is Etching. https://en.wikipedia.org/wiki/Etching
What is Silkscreening. https://en.wikipedia.org/wiki/Screen_printing
What is a woodblock. https://en.wikipedia.org/wiki/Woodblock_printing
45 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer 5. OCAC Touring Schedule
46 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer 6. Organization of Saskatchewan Arts Councils
The touring exhibition, In Print/Imprimer Express, featuring the work of Joe Fafard was organized by the Moose Jaw Museum & Art Gallery and toured through OSAC’s Arts on the Move Program.
The Moose Jaw Museum & Art Gallery is the only facility of its kind in the area that draws from a geographic trading area of approximately 55,000 people and exhibits art and history of local, regional, national, and international origin. The galleries vision is to be a centre for the visual arts and Moose Jaw’s living history, sharing opportunities for education, exploration, and inspiration. Whiles the mandate is to interpret, and promote the cultural and artistic heritage of Moose Jaw and area.
Art education is a major part of the mandate with little or no duplication of our programming within our community. The galleries education program is well received and very visible to our community. Last year the MJMAG provided over 163 school, special and outreach tours and hands-on activities to 3,225 school and special interest students and 759 participants took part in over 69 art classes.
The Organization of Saskatchewan Arts Councils (OSAC) is a provincial arts organization founded in 1968 by a group of volunteers representing eight arts councils from across the province. Since its inception, OSAC has grown and currently has 48 volunteer run arts councils and over 100 school centres. OSAC's vision is to be a vital and identifiable arts organization, with a purpose to make the visual arts and performing arts relevant to the personal and community lives of Saskatchewan people.
OSAC coordinates three Performing Arts Programs resulting in more than 250 concerts on an annual basis. Stars for Saskatchewan is an adult community concert series, Koncerts for Kids is a series of performances geared to family audiences and Junior Concerts features professional performing artists in entertaining educational school concerts. Saskatchewan Showcase of the Arts, OSAC's annual conference, features visual art exhibitions, performances, workshops, annual general meeting, display hall and much more.
Visual & Media Arts Program
47 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer The Organization of Saskatchewan Arts Councils’ (OSAC) Visual Arts Program offers a number of opportunities and services to audiences and artists throughout the province. Our aim is to develop an awareness and appreciation for visual and media arts in the province of Saskatchewan, and to assist in the creative and professional development of Saskatchewan visual artists.
Since 1975, OSAC’s Saskatchewan...Arts on the Move program has provided communities throughout the province with visual and media arts exhibitions & screenings. Each exhibition is accompanied by education materials that compliment the Saskatchewan Education Arts Curriculum, offering arts councils, gallery staff and teacher’s strategies and means of engaging youth and audiences with the touring exhibitions. The program annually tours 15 exhibitions of visual and media arts to over 50 arts council communities.
The Local Adjudications program, partially funded by OSAC and organized by arts councils, provides an opportunity for artists to participate in an exhibition, attend professional development workshops, and have their work critiqued by an adjudicator, and 39 network with their colleagues. Artists, who are noted to be accomplished emerging artists at the adjudication by the adjudicator/s, will be invited to submit exhibition proposals to OSAC to be considered for a touring exhibition.
The Visual Arts Program Grants offer arts councils funding for adjudications, classes, workshops, professional development seminars, exhibition extension activities in response to touring exhibitions and exhibition tour guide training.
Short Term Artist in Residence (STAR) is a recently initiated program to promote visual literacy and increase public awareness of the visual arts by linking artists and exhibitions with communities. Facilitated by an artist, whose work is currently touring with OSAC, the program offers ways of engaging with visual artworks through artist talks and hands-on activities in response to an exhibition.
For further information about our programs: Visit our website www.osac.sk.ca
Email: [email protected] or call us at (306) 586 1252
Our office is located at 1102 – 8th Avenue, Regina, SK S4R 1C9
48 | P a g e EDUCATION GUIDE – MJM&AG – OSAC TOUR Joe Fafard In Print/Imprimer