CARFAC-Gallery-Surveys.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

CARFAC-Gallery-Surveys.Pdf Canadian Gallery Guide for Artists Guide des musées et galeries du Canada à l’intention des artistes Listings have been published in the language in which they were submitted. Les listes informatives sont publiées dans la langue dans laquelle elles nous ont été transmises. Canadian Gallery Guide for Artists Looking for places to exhibit your work? CARFAC has all the tools you need to find success including a newly assembled compilation of gallery surveys from across Canada – available exclusively for members. Find information on: • Submissions • Artist’s fees • Framing • Shipping • and more CARFAC/Visual Arts Newfound Land's survey can be found at: http://vanl‐carfac.com/index.php/programs‐services/newfoundland‐labrador‐visual‐sector‐ survey‐2010/#a1c Visual Arts Alberta Association Alberta Gallery Requirement Survey 2009 Table of Content Cooperative Galleries p 12-13 Cottage Craft Introduction: Dean Francis at Sagebrush Galleries Allied Arts Council of Spruce Grove #43 Diana Paul Galleries The Alberta Gallery Requirement Survey Results booklet Introduction p 2 Canadian Badlands Artist Association #44 Douglas Udell Gallery has been four years in the making, and was inspired by the Harris-Warke Gallery #45 Elevation Gallery excellent work of CARFAC Saskatchewan whose ongoing Table of Contents p 2 Framing and Art Centre assistance is greatly appreciated. Artist-Run Centers p 3-5 Other Cooperative Galleries p 13 Front Gallery Gainsborough Galleries Bric Gallery This Gallery Survey contains the information on Alberta’s artist- Artist Proof Gallery #7 Gerry Thomas Gallery run-centres, public and commercial galleries provided by those Potemkin Too Gust Gallery Emmedia Gallery and Production Society #8 Sun and Moon Gallery that responded to our survey request. Although this survey Harcourt House Gallery #9 The Potemkin - The Burning Ground Herringer Kiss Gallery contains information on many of Alberta’s galleries, it is not Latitude 53 #10 Johnson Gallery intended to be a complete listing and it is advisable for artists SNAP Gallery #11 Commercial Galleries p 13-23 Just Imajan Art Gallery/Studios to contact each gallery directly before making a submission. Stride Gallery #12 Kamena Gallery Kohon Designs Inc. The New Gallery #13 Art Beat Gallery #48 Melting Pot Gallery The intent of this Gallery Survey is to provide Alberta’s Truck #14 Arts on Atlantic Gallery #49 Micah Gallery artists with a useful tool when planning their exhibition and Bilton Contemporary Art #50 Mountain Galleries at the Fairmont marketing strategies, in addition to giving Alberta galleries a Caelin Artworks #51 Public Art Galleries p 5-12 Newzones resource that they can give to artists – a valuable, time-saving Canada House Gallery #52 Picture This! aid for both. Alberta Craft Council Gallery #16 Candler Art Gallery #53 Prairie Winds Gallery Alliance Francaise Gallery #17 Gallery Is Fine Art #54 Rubaiyat Gallery Every effort has been made to ensure that the information Art Gallery of Alberta #18 Gerry Thomas Gallery #55 Scott Gallery herein is current and accurate, however, due to the suddenness Art Gallery of Calgary #19 Gibson Fine Art Ltd. #56 Skew Gallery of changes in Alberta’s gallery community some items may Cultural Centre Gallery #20 Gilded Gallery #57 Stephen Lowe Gallery already be dated or incorrect. In addition to this, not every EPCOR Centre for the Performing and Visual Arts #21 Influx Jewellery Gallery #58 Stratus Gallery Extension Centre Gallery #22 Jerry Arnold Gallery #59 gallery surveyed responded, so for non-responsive galleries we Studio West Bronze Foundry & Art Gallery FAB Gallery #23 Keystone Art Gallery #60 have simply listed their name, address, phone number and fax Summit Fine Art Fringe Gallery #24 Lando Gallery #61 at the end of each section. Suncatchers Design Studio Galt Museum and Archives #25 Loch Gallery #62 The Alicat Gallery Illingworth Kerr Gallery #26 Masters Gallery #63 Other important items that artists should be aware of and The Gallery on Main Leighton Art Centre #27 Mountain Galleries at the Fairmont (Jasper) #64 make inquiries about at each gallery are: The Mountain Gallery Marion Nicoll Gallery #28 Paul Kuhn Gallery #65 McMullen Gallery ( Friends of University Hospital) #29 The Portal Gallery Galleries charging rental or hanging fees Peter Robertson Gallery #66 • Multicultural Public Art Gallery #30 The Weiss Gallery Galleries specifying that work must be Pro’s Art Gallery and Framing #67 • Okotoks Art Gallery #31 Trepanierbaer professionally framed Rowles & Company Ltd. #68 Prairie Art Gallery #32 Trianon Gallery Additional charges for: Ruberto Ostberg Gallery #69 • Profiles Public Art Gallery #33 Venturion Gallery • Invitations Rustica Art Gallery #70 Red Deer Museum and Art Gallery #34 Webster Galleries • Opening Receptions Studio Todorivic #71 Southern ALberta Art Gallery #35 Westlands Art Gallery • Mailing out of announcements Terra Cotta Gallery #72 VAAA Gallery #36 Insurance coverage and deductibles The Avens Gallery #73 • Viewpoint Gallery #37 Visual Arts Alberta Association p 23 Who pays deductible if work is stolen or The Collectors’ Gallery of Art #74 • Visual Art Week Society (Art City) #38 damaged The Peters Gallery #75 Walter Phillips Gallery #39 TU Gallery #76 Whyte Museum of the Canadian Rockies #40 It is also important Alberta artists know that in 2007 the Two Feathers Gallery #77 Virginia Christopher Fine Art #78 Alberta Foundation for the Arts made it mandatory for Other Public Galleries p 12 Wallace Galleries Ltd. #79 any public galleries or artist-run-centres receiving public West End Gallery #80 gallery funding to ‘contract with exhibiting artists and Bowman Arts Centre Wilcox & Sax Gallery #81 provide professional artists’ fees according to copyright Crowsnest Pass Public Art Gallery Wildwood Gallery and Studio #82 legislation and schedules recommended by the Canadian Four Corners and Porthole Galleries Artist Representation Copyright Collective (CARCC)’. For Keyano Art Gallery Other Commercial Galleries p 22-23 additional information on the Copyright Fee Schedule go to Lacombe Memorial Centre Art Gallery www.carcc.ca. Medicine Hat Museum & Gallery/Esplanade Arts Heritage Agnes Bugera Gallery Mezzanine Gallery Akokiniskway Gallery Visual Arts Alberta would like to thank all the galleries who The Nickle Art Museum Art Central The Works Gallery participated in this inaugural effort, in addition to the support Artful Living Triangle Gallery of Visual Arts and assistance of CARFAC Saskatchewan. Axis Contemporary Art University of Lethbridge Art Gallery Bearclaw Gallery Allison Argy-Burgess Christl Bergstrom’s Red Gallery Executive Director, Visual Arts Alberta Collage Artist Proof Gallery Emmedia Gallery 2010F 11 St. SE, PO Box 6821 Station D 203-351 11 Ave. SW. Calgary, AB, T2P 2E7 Calgary AB, T2R 0C7 ph. 403.287.1056 ph. 403.263.2833 Christie Kirchner, Director fx. 403.232.8372 www.albertaprintmakers.ca Programs and Outreach Coordinator [email protected] www.emmedia.ca Artist-Run [email protected] Mandate Mandate The Alberta Printmakers’ Society (A/P) serves to increase Centres: public awareness of the art and craft of printmaking, and EMMEDIA is a Calgary-based organization that to foster artistic initiatives between print artists and the promotes and advances video, audio, and time-based community. media arts production. We work within the artistic, social and cultural community to provide broadcast Submissions and high definition video and audio production. Requirements: 10 images of work, Image list, CV, Submissions Artist statement, Proposal. Alberta artist-run centres (ARCs) Deadline: Mid-September for the upcoming year Requirements: Proposal, artist statement and support Selection: committee material have existed for over thirty Entrance Fee: no Deadline: Year-Round for programming, March 31 of years, providing exhibition each year for production support programs Exhibition Terms Selection: Committee and other programming Entrance Fee: no spaces for contemporary Written agreements: yes visual art. Exhibiting the work Framing supplied: no Exhibition Terms of emerging and established Insurance: no Shipping: yes, one way shipping is provided Written agreement: yes Framing Supplied: no artists, these spaces allow artists Reception: yes Insurance: no to experiment in both form Announcements: yes Shipping: yes and content. They are not-for Commission: no Reception: yes Artist fee: yes Announcements: yes profit incorporated societies, Membership necessary to exhibit: no Commission: no establishing as their first priority Average sale price: n/a Artist fee: yes, CARFAC fees the principles of artistic freedom, Type of show: Printmedia-based exhibitions, Memebership necessary to exhibit: yes, for renting group or solo. the screening room and equipment, no membership research and development. Average length of exhition: one month needed to attend events. Average sale price: n/a Attendance: 600-1,000 Type of show: Screenings, performances, installations, artist- talks Average length of exhibition: 1 day to a week Attendance: 10,000 appx. Artist Run Galleries 7 Artist Run Galleries 8 Harcourt House Gallery Latitude 53 SNAP Gallery Stride Gallery 10215 112 St., 3rd Floor 10248 106 St. 10309 106 St. 1004 Macleod Tr SE Edmonton, AB, T5K 1M7 Edmonton, AB, T5J 1H5 Edmonton, AB, T5J 0M7 Calgary, AB, T2G 2M7 ph. 780.426. 4180 ph. 780.423.5353 ph. 780.423.1492 ph. 403.262.8507 fx. 780.425.5523 fx. 780.424.9117 fx. 780.424.9117 fx. 403.269.5220 Christine Hornung Todd Janes, Executive Director
Recommended publications
  • New Engines of Growth: Five Roles for Arts, Culture and Design
    New Engines of Growth Five Roles for Arts, Culture and Design THE NATIONAL GOVERNORS ASSOCIATION (NGA), founded in 1908, is the instrument through which the nation’s governors collectively influence the development and implementation of national policy and apply creative leadership to state issues. Its members are the governors of the 55 states, three territories and two commonwealths. The NGA Center for Best Practices is the nation’s only dedicated consulting firm for governors and their key policy staff. The NGA Center’s mission is to develop and implement innovative solutions to public policy challenges. Through the staff of the NGA Center, governors and their policy advisors can: I Quickly learn about what works, what doesn’t and what lessons can be learned from other governors grappling with the same problems; I Obtain specialized assistance in designing and implementing new programs or improving the effectiveness of current programs; I Receive up-to-date, comprehensive information about what is happening in other state capitals and in Washington, D.C., so governors are aware of cutting-edge policies; and I Learn about emerging national trends and their implications for states, so governors can prepare to meet future demands. For more information about NGA and the Center for Best Practices, please visit www.nga.org. ACKNOWLEDGEMENTS This report was prepared by Erin Sparks and Mary Jo Waits at the NGA Center for Best Practices, in collaboration with Bill Fulton of Solomar Research Group. The National Assembly of State Arts Agencies contributed significant background research to this project. The NGA Center for Best Practices wishes to thank the National Endowment for the Arts (NEA) for its generous support of this report.
    [Show full text]
  • Truck Contemporary Art's 3Rd Annual Postcard Fundraiser
    TRUCK CONTEMPORARY ART’S 3RD ANNUAL ARTIST CATALOGUE POSTCARD FUNDRAISER EVENT DETAILS Saturday, February 29th, 2020 7PM - 10PM TRUCK Contemporary Art - 2009 10 Ave SW, Calgary, AB Bidding starts at 7PM and closes at 930PM PROXY BIDDING If you cannot make it to the fundraiser in person, we will be accepting proxy bids by email at [email protected] prior to the event and by text at 587-439-8706 on the night of the event. Please include your maximum bid amount. BUY-IT-NOW Prior to the fundraiser, you may purchase postcards at the BUY-IT-NOW price of $300.00 without bidding. This option is only available until the beginning of the event, which starts at 7PM on February 29th, 2020. If you would like to BUY-IT-NOW, please email [email protected] Alberta Rose W./Ingniq Mohkinstsis (Calgary) based artist, Ingniq worked her way through college as a cook, then in politics before she obtained her BFA with distinction from the Alberta University of the Arts (formerly ACAD). Of mixed settler/Inuvialuit heritage, Ingniq often creates work that reflects both aspects of her cultural identity as well as broader social issues related to Indigenous people today. Often working with reclaimed or rescued materials in her art- making, Ingniq takes an intuitive and mindful approach to art. In part, this is a reactionary, conscious choice regarding the amount of rampant waste in this capitalist/consumerist society, as well as a symbolic gesture adding to the reclamation of identity. The need to create work like this is to focus on evolving activism that seeks to generate dialogue and awareness about the current and historical aspects influencing Indigenous people, as well as other groups of marginalized individuals and problems to generate opportunities for more inclusive and supportive societies.
    [Show full text]
  • [email protected]
    Annie Farrar www.anniefarrar.com [email protected] Education 2009, MA, Museum Studies, George Washington University 2004, BFA, Painting, Maryland Institute College of Art Solo & Two-Person Exhibitions 2019 Apparitions, Hamilton Gallery, Baltimore, MD 2018 Wasted, The World Bank Art Program, Washington, DC Inner Labyrinths, Towle Hill Studios, Corinth, VT The Other Side of Existence, Georgetown College, Lexington, KY 2017 Haunted by Quiet Places, Margaret W. & Joseph L. Fisher Gallery, Alexandria, VA 2015 Vanitas, VisArts, Rockville, MD Annie Farrar & Mike Shaffer, 8000 Towers Crescent, Tysons Corner, VA 2014 Dark Matter, Charmed Life Gallery, Baltimore, MD 2013 Paint as Object, Hillyer Art Space, Washington, DC 2005 Annie Farrar, Creative Alliance, Baltimore, MD 2004 Gravity, Spirit Gallery, Frederick, MD Group Exhibitions 2022 Suspended Inter-Space, VisArts, Rockville, MD 2021 Fleeting, Fled, Glen Echo Galleries, Glen Echo, MD 2020 Out of Order, Maryland Art Place, Baltimore, MD Special Delivery, Ruby Projects, Fairfax, VA That Group Show Part I, Ruby Projects, Fairfax, VA International Women’s Day Exhibition, 5333 Connecticut, Washington, DC Perspective, Lowe House, Annapolis, MD 2019 Reflections of Self, Montpelier Art Center, Laurel, MD Hambidge Art Auction, Ballard Designs, Atlanta, GA Potluck, Georgetown College, Lexington, KY Notes of Color, The Athenaeum, Alexandria, VA Back Pay, The Lemon Collective, Washington, DC Sculpture Now 2019, Brentwood Arts Exchange, Brentwood, MD 2018 Prince George’s County Juried Exhibition, Harmony
    [Show full text]
  • 4. Organize a Studio Tour 5
    Toolkits for the Arts TOOLKIT 4: ORGANIZE A STUDIO TOUR Studio tours offer a fun way to bring artists and the community together. By bringing the public into the studio, these events promote the local arts community and can offer an intimate and meaningful purchasing experience. This toolkit is designed to: • provide an overview of the logistics and benefits of studio tours, and • offer practical steps for organizing a studio tour and helping artists prepare and participate. OTHER TOOLKIT TOPICS This document is the fourth installment in a six-part series of toolkits published by the Tamarack Foundation for the Arts. Funded by an “Our Town” grant from the National Endowment for the Arts, this series provides straightforward guidance to help individuals, communities, arts councils, and other creative entities implement local initiatives for the visual arts. Other installments in this series include: 1. Create an arts organization 2. Form an artist cooperative 3. Host a pop-up art shop 4. Organize a studio tour 5. Arrange an art walk 6. Lead a public mural project About the Tamarack Foundation for the Arts The Tamarack Foundation for the Arts (TFA) is a nonprofit organization dedicated to cultivating an empowering ecosystem that provides artists, businesses, and communities the tools and support needed to learn, connect, and thrive. TFA convenes a range of initiatives and programming that aim to help West Virginia artists prosper from their creative practice and make meaningful contributions to the well-being of our communities. More information is available at tamarackfoundation.org. WHY ORGANIZE A STUDIO TOUR? A studio tour is a coordinated event in which local artists in a region open up their studios to the public.
    [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]
  • CV Photo/Ciel Variable, Montreal, No
    A N G E L A G R A U E R H O L Z Recognition and Awards (Visual Arts) 2018 Honorary Doctorate Emily Carr University of Art + Design, Vancouver 2017 150 Years of Photography / Canada 150 Commemorative Collection, 2017 Canada Post, Ottawa 2015 Recipient of the Scotiabank Photography Award, Toronto 2014 Recipient of the Governor General Award in Visual and Media Arts, Canada Council for the Arts, Ottawa 2013 Shortlisted for the Scotiabank Photography Award, Toronto 2006 Awarded the Prix Paul-Émile Borduas, Government of Quebec, Quebec Solo exhibitions 2019 The Empty S(h)elf – First iteration, Artexte, Montreal The Book is the Book, installation at the Madras Literary Society (library), 2019 Chennai Photo Biennale, Chennai Angela Grauerholz: Écrins, écrans, McIntosh Gallery, Western University, London, ON 2018 Scotiabank Contact Festival / Olga Korper Gallery, Toronto Art 45, Montréal 2016 Angela Grauerholz (Scotiabank Photography Award), Ryerson Image Centre, Toronto Angela Grauerholz/Écrins, écrans, Canadian Cultural Centre/Centre culturel canadien, Paris 2014 Olga Korper Gallery, Toronto 2012 Art 45, Montreal 2011 Olga Korper Gallery, Toronto Angela Grauerholz: The inexhaustible image…épuiser l’image, University of Toronto Art Centre (UTAC), Toronto 2010 Angela Grauerholz: The inexhaustible image…épuiser l’image, National Gallery of Canada/Musée des beaux-arts du Canada, Canadian Museum of Contemporary Photography/Musée canadien de la photographie contemporaine (CMCP), Ottawa (book/catalogue) McMaster Museum of Art, McMaster University,
    [Show full text]
  • International Print Collectors' Societies Newsletter from the Editor
    International Print Collectors’ Societies Newsletter Vol. XIV, No. 1 January 2017 From the Editor Those of you with eagle eyes may notice changes and a new addition to our roster. I am pleased to welcome The Print Club of Rochester as they join us here among the IPCS at the beginning of 2017. Heather Swenson will be providing their updates while also serving as the Vice President of their Club. I know I am happy to extend our reach and have them as part of our group. Coincidentally, in addition to Rochester, I was also recently contacted by another group in Iowa, so my hope is that we’ll have yet another addition before the year is up. I’d also like to welcome a new contributor on behalf of the Print Club of Cleveland, Samantha Mishe. With some new faces and perspectives, I am sure we can look forward to some good reading ahead. In this issue, I’d like to call out some encouraging community-building efforts with long- term impact. The Montreal Print Society has established a scholarship fund with Concordia University to give $1000 to a senior BFA student over the next five years. And the Washington Print Club has instituted a new initiative of gifting $1000 to a student enrolled in a printmaking program at one of the local institutions. This year the gift will go to a student at the Maryland College of Fine Art in Baltimore. Kudos to each of your groups for supporting up-and-coming printmakers in the next generation. Primarily I enjoy reading through the different gallery talks, studio visits, and other sorts of membership gatherings among the different societies.
    [Show full text]
  • U:\CAC\Journal\Vol 34\Web Version\Vol 34 Pg 29-38.Wpd
    A Technical and Scientific Study of Two A.Y. Jackson Paintboxes Barbara Klempan, Marie-Claude Corbeil, Jennifer Poulin and Philip Cook Journal of the Canadian Association for Conservation (J. CAC), Volume 34 © Canadian Association for Conservation, 2009 This article: © Barbara Klempan, Queen’s University, and the Canadian Conservation Institute (http://www.cci-icc.gc.ca/copyright_e.aspx) of the Department of Canadian Heritage, 2009. Reproduced with the permission of the copyright owners. J. CAC is a peer reviewed journal published annually by the Canadian Association for Conservation of Cultural Property (CAC); http://www.cac-accr.ca/. The views expressed in this publication are those of the individual authors, and are not necessarily those of the editors or of CAC. Journal de l'Association canadienne pour la conservation et la restauration (J. ACCR), Volume 34 © l'Association canadienne pour la conservation et la restauration, 2009 Cet article : © Barbara Klempan, Queen’s University, et l’Institut canadien de conservation (http://www.cci-icc.gc.ca/copyright_f.aspx), Ministère du Patrimoine canadien, 2009. Reproduit avec la permission de ceux et celles qui détiennent les droits d’auteur. Le Journal de l’ACCR est une revue arbitrée qui est publiée annuellement par l'Association canadienne pour la conservation et la restauration des biens culturels (ACCR); http://www.cac-accr.ca. Les opinions exprimées dans la présente publication sont celles des auteurs et ne reflètent pas nécessairement celles de la rédaction ou de l'ACCR. 29 A Technical and Scientific Study of Two A.Y. Jackson Paintboxes Barbara Klempana, Marie-Claude Corbeilb, Jennifer Poulinb and Philip Cookb a Art Conservation Program, Queen’s University, Kingston, Ontario K7L 3N6, Canada; [email protected] b Analytical Research Laboratory, Canadian Conservation Institute, Department of Canadian Heritage, 1030 Innes Road, Ottawa, Ontario K1A 0M5, Canada; [email protected]; [email protected] Two paintboxes that once belonged to Canadian artist A.Y.
    [Show full text]
  • Max Ginsburg at the Salmagundi Club by RAYMOND J
    Raleigh on Film; Bethune on Theatre; Behrens on Music; Seckel on the Cultural Scene; Critique: Max Ginsburg; Lille on René Blum; Wersal ‘Speaks Out’ on Art; Trevens on Dance Styles; New Art Books; Short Fiction & Poetry; Extensive Calendar of Events…and more! ART TIMES Vol. 28 No. 2 September/October 2011 Max Ginsburg at The Salmagundi Club By RAYMOND J. STEINER vening ‘social comment’ — “Caretak- JUST WHEN I begin to despair about ers”, for example, or “Theresa Study” the waning quality of American art, — mostly he chooses to depict them in along comes The Salmagundi Club extremities — “War Pieta”, “The Beg- to raise me out of my doldrums and gar”, “Blind Beggar”. His images have lighten my spirits with a spectacular an almost blinding clarity, a “there- retrospective showing of Max Gins- ness” that fairly overwhelms the burg’s paintings*. Sixty-plus works viewer. Whether it be a single visage — early as well as late, illustrations or a throng of humanity captured en as well as paintings — comprise the masse, Ginsburg penetrates into the show and one would be hard-pressed very essence of his subject matter — to find a single work unworthy of what the Germans refer to as the ding Ginsburg’s masterful skill at classical an sich, the very ur-ground of a thing representation. To be sure, the Sal- — to turn it “inside-out”, so to speak, magundi has a long history of exhib- so that there can be no mistaking his iting world-class art, but Ginsburg’s vision or intent. It is to a Ginsburg work is something a bit special.
    [Show full text]
  • 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.
    [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]