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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. -
University of Regina Archives and Special Collections The
UNIVERSITY OF REGINA ARCHIVES AND SPECIAL COLLECTIONS THE DR JOHN ARCHER LIBRARY 86-29 KEN LOCHHEAD SHELLEY SWEENEY JULY 31, 1986 REVISED JANUARY 2004 BY ELIZABETH SEITZ 86-29 KEN LOCHHEAD 2 / 24 Biographical Sketch Ken Lochhead was born in Ottawa in 1926. His major art training came from the Pennsylvania Academy of the Fine Arts in Philadelphia (1945-1949). At the same time Lochhead studied at the Barnes Foundation in Merlon, Philadelphia from 1946 to 1948. Several scholarships allowed him to study in England, Holland, Belgium, France, Spain, Italy, Switzerland, and western Canada. After several short assignments, Lochhead was hired by the University of Saskatchewan, Regina College in 1950 to direct the School of Art. He was also charged by Dean William Riddell to develop what became the Norman Mackenzie Art Gallery. Under Lochhead's guidance, both the School and the Gallery flourished, attracting vibrant personalities and generating excitement. At this time Lochhead developed a distinctive style, producing such notable works as "The Kite" (1952). "The Dignitary" and "The Bonspiel" (1954). As well, he began to win major commissions, completing an enormous wall mural at Gander Airport in Newfoundland in 1957-1958. It was Lochhead's creation of the Emma Lake Artists' Workshops, however, that attracted the most attention to the prairie region. With the summer series led by such New York artists as Herman Cherry, Barnett Newman, Kenneth Noland, and Jules Olitski, international attention was suddenly focused to the north. The results were tremendous: a veritable burst of excited experimentation and innovation. Lochhead himself produced such abstract works as "Blue Extension" and "Dark Green Centre" (1963). -
Texts in English Myra Nan Rosenfeld, Anne Mcdougall, Joan Murray Et Helen Duffy
Document généré le 27 sept. 2021 02:38 Vie des arts Texts in English Myra Nan Rosenfeld, Anne McDougall, Joan Murray et Helen Duffy Volume 29, numéro 118, mars–printemps 1985 URI : https://id.erudit.org/iderudit/54188ac Aller au sommaire du numéro Éditeur(s) La Société La Vie des Arts ISSN 0042-5435 (imprimé) 1923-3183 (numérique) Découvrir la revue Citer cet article Rosenfeld, M. N., McDougall, A., Murray, J. & Duffy, H. (1985). Texts in English. Vie des arts, 29(118), 91–94. Tous droits réservés © La Société La Vie des Arts, 1985 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ PARIS MUSÉE DE L'AFFICHE ET DE LA PUBLICITÉ, 18, rue de Par UNION CENTRALE DES ARTS DÉCORATIFS. 107, rue de Rivoli. DÉLÉGATION GÉNÉRALE DU QUÉBEC, 117, rue du Bac. adis. Jusqu'au 1* avril: Charlotte Perriand - Un art de vivre; A Jusqu'au 5 avril: Serge Tousignant, Photographies: Du 10 Jusqu'au 15 avril: Privat-Livemont; Jusqu'au 20 mai: La Pu partir du 1* mai: Amado, Sculptures; A partir du 8 mal: avril au 17 mai: Francine Simonin, Gravures et dessins; Du blicité au Musée de la Publicité; A partir du 28 mai: Les Chefs- Félicien Rops, Peintures, illustrations et gravures. -
FIVE PAINTERS in OTTAWA: the GOVERNANCE of Exhl BIT1 ONARY SPACES
FIVE PAINTERS IN OTTAWA: THE GOVERNANCE OF EXHl BIT1 ONARY SPACES KRYS VERRALL A thesis submitted to the Faculty of Graduate Studies in partial fulfillment of the requirements for the degree of Master of Arts Graduate Programme in Interdisciplinary Studies York University North York, Ontario May 1999 National Library Bibliothèque nationale I*m of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395, rue Wellington Ottawa ON Kl A ON4 OttawaON K1A ON4 Canada Canada Your Ne Voire relérsnce Our lVe Noire reldrenu, The author has granted a non- L'auteur a accordé une licence non exciusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sel1 reproduire, prêter, distribuer ou copies of this thesis in microform, 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 fiom 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. Five Painters in Ottawa: the Governance of Exhibitionary Spaces by Krys Ven-all a thesis submitted to the Faculty of Graduate Studies of York University in partial fulfillment of the requirements for the degree of M ASTER OF ARTS Permission has been granted to the LIBRARY OF YORK UNIVERSIlY to lend or seIl copies of this thesis, to the NATIONAL LIBRARY OF CANADA to microfilm this thesis and to lend or seIl copies of the film, and to UNIVERSITY MICROFILMS to publish an abstract of this thesis. -
Regina Clay: Worlds in the Making Greg Beatty
Document generated on 09/28/2021 4 p.m. Espace Sculpture Regina Clay: Worlds in the Making Greg Beatty Sculpture & humour Number 76, Summer 2006 URI: https://id.erudit.org/iderudit/8873ac See table of contents Publisher(s) Le Centre de diffusion 3D ISSN 0821-9222 (print) 1923-2551 (digital) Explore this journal Cite this document Beatty, G. (2006). Regina Clay: Worlds in the Making. Espace Sculpture, (76), 41–42. Tous droits réservés © Le Centre de diffusion 3D, 2006 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ EVENEMENTS /: V ClltS Regina Clay: Worlds in the Making Greg BEATTY "Make Pottery Not War!" may not member) Kenneth Lochhead to do have been a rallying cry for anti- so. Beth Hone, wife of long-time Saskatchewan artist MacGregor Vietnam War protestors and other Hone, was one ofthe first counter-culture types in the teachers. "Those people haven't 1960s, but given the subversive been recognized, so this exhibi tion gives them some credit," says nature of clay as an artistic Long. "Then, of course, when Ric medium at that time, at least Gomez arrived [from California] in among professors and students at '64, his job was to set up a sculp ture department, and to advise in the University of Regina, it might the setting up ofthe ceramics well have been. -
2007-08 Uofm School of Art Annual Report
SCHOOL OF ARTannual report { 2007 2008} school of art annual report { 2007 2008} SCHOOL OF ARTannual report { 2007 2008} Director’s Message 5 History, Vision, Mission & Values 6 School of Art Strategic Accomplishments 8 203 FitzGerald Building University of Manitoba Programs & Facilities 13 Winnipeg, MB R3T 2N2 Endowment Fund 16 Phone: 204.474.9367 Finances 17 Toll-free in Canada: 1.800.432.1960, ext. 9367 Gallery One One One 20 FAX: Student Awards 22 204.474.7605 Graduates 24 Email: [email protected] Student Exhibitions 27 ON-LINE: umanitoba.ca/schools/art Measures of Growth 29 Faculty and Staff 30 Research & Creative Achievements 32 Celia Rabinovitch, In English Bay, oil on canvas, 61cm x 121cm, Collection of Province of Manitoba SCHOOL OF Honouring Excellence 46 Please enjoy the images in this report. Works of art were created by School of Art faculty, students and alumni. ART Visiting Artist Lecture Program 49 Designed by John Funk (Underscorefunk Design), 2008. 2 university of manitoba school of art annual report { 2007 2008} director’s message Dr. Celia Rabinovitch » I am pleased to announce that the Master of Fine as well as Gallery One One One have continued Arts program was approved by the University of to receive national and regional public and private Manitoba, the Board of Governors and the Academic grants for exhibitions. The School has advanced the SCHOOL OF Senate in May, 2008. A major achievement for cause of art in the midst of competing arguments for the School of Art, the M.F.A. fulfills the School’s research dollars from science and the humanities. -
Colour Is of the Senses
colour is of the senses An exhibition of paintings by Kenneth C. Lochhead at the residence of Dr. Vianne Timmons and Mr. Stuart Mason 1001 McNiven Avenue, Regina Cover image: Dark Stump (1995) (detail), Kenneth C. Lochhead (Canadian), oil on canvas, 30” x 40”. University of Regina President’s Art Collection, Gift of Joanne Lochhead, 2018; pc.2018.73 Exhibition organized by: Amy Hunter, Special Projects Administrator Alex King, Curator/Preparator, President’s Advisory Committee on Art Catalogue: Colette Schlamp, Pre-press & Graphic Design Technician Trevor Hopkin, Photographer With special thanks to the Lochhead Family WELCOME Colour is of the senses. It must be felt and this is how I think about it. It is a way of life. I feel that colour through painting is primary. It is the one element in painting that gives meaning to light, line, and space. - Kenneth Lochhead, 1972 At the young age of twenty-four Kenneth Lochhead was hired by the University of Saskatchewan, Regina College, to direct the School of Art and to develop what became the Norman MacKenzie Art Gallery. Nearly six decades later, Ken’s art adorns the halls and library of the University of Regina to be enjoyed by faculty, staff, visitors, and students alike – many of whom are similar in age to Ken when he began his career here. I am thrilled that a selection of Ken’s many beautiful pieces make up the 2019 exhibition, Colour is of the Senses at the University of Regina President’s Residence. Special thanks to Dr. Jacqui Shumiatcher who has graciously donated many of Ken’s works to the University Collection and to Ken’s family, particularly Joanne Lochhead, whose thoughtful generosity through donations of Ken’s work spanning his long career have ensured that Ken will be remembered and honoured on our campus. -
The Numinous Land: Examples of Sacred Geometry and Geopiety in Formalist and Landscape Paintings of the Prairies
The Numinous Land: Examples of Sacred Geometry and Geopiety in Formalist and Landscape Paintings of the Prairies A Thesis Submitted to the College of Graduate Studies and Research in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Department of Art and Art History University of Saskatchewan Saskatoon By Kim Ennis © Copyright Kim Ennis, April 2012. All rights reserved. Permission to Use In presenting this thesis in partial fulfillment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis work or, in their absence, by the Head of the Department or the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis. Requests for permission to copy or to make other uses of materials in this thesis in whole or part should be addressed to: Head of the Department of Art and Art History University of Saskatchewan 3 Campus Drive Saskatoon, Saskatchewan S7N 5A4 Canada i Abstract Landscape painting and formalist painting, both terms taken in their broadest possible sense, have been the predominant forms of painting on the prairie, particularly in Saskatchewan, for several decades. -
To Download the PDF File
NOTE TO USERS This reproduction is the best copy available. ® UMI Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. THE EDGE OF PAINTING: The Emma Lake Artists’ Workshops and the Politics of Location By April Danielle Britski B.A., University of Saskatchewan, 2001 A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts in Canadian Art History Carleton University OTTAWA, Ontario December 15, 2005 © 2005, April Britski Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre reference ISBN: 0-494-13409-7 Our file Notre reference ISBN: 0-494-13409-7 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce,Canada de reproduire, publier, archiver, publish, archive, preserve, conserve,sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par I'lnternet, preter, telecommunication or on the Internet,distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform,et/ou autres formats. -
Canadian and American Abstract Painting: Intersections in the Work of Clyfford Still and Kenneth Lochhead
CANADIAN AND AMERICAN ABSTRACT PAINTING: INTERSECTIONS IN THE WORK OF CLYFFORD STILL AND KENNETH LOCHHEAD Katherine Meredith Clyfford Still is at once a legendary figure in the history of modern art, and an unknown painter whose oeuvre has been tightly restricted from public access. Those who do know his work are familiar with Still as a leader of the Abstract Expressionist movement, and associate the artist with his immense and colourful abstract canvases. Although these represent his most significant and influential works, what is constantly overlooked when discussing Still’s career is the fact that he spent most of his youth in rural Alberta, where he began to paint. Born in North Dakota in 1904, Still’s family moved to Bow Island, just outside of Edmonton, in 1911. He lived there until he attended college in Washington State, although he returned to Canada during the summers as well as regularly throughout the rest of his life. Little is known of this part of Still’s career. This is partly because Still was a very private person who hid from the public, and who usually refused to comment on any of his art, as well as the strict conditions on his estate, left by the artist following his death in 1980. At Still’s wishes, his estate remained hidden from public access until an American city was willing to build a museum dedicated to his art and archives. Consequently, for a very well-known artist of the twentieth century, there is little known of him, particularly during his early years as a figurative painter. -
Texts in English Myra Nan Rosenfeld, Anne Mcdougall, Joan Murray and Helen Duffy
Document generated on 09/28/2021 8:30 a.m. Vie des arts Texts in English Myra Nan Rosenfeld, Anne McDougall, Joan Murray and Helen Duffy Volume 29, Number 118, March–Spring 1985 URI: https://id.erudit.org/iderudit/54188ac See table of contents Publisher(s) La Société La Vie des Arts ISSN 0042-5435 (print) 1923-3183 (digital) Explore this journal Cite this article Rosenfeld, M. N., McDougall, A., Murray, J. & Duffy, H. (1985). Texts in English. Vie des arts, 29(118), 91–94. Tous droits réservés © La Société La Vie des Arts, 1985 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ PARIS MUSÉE DE L'AFFICHE ET DE LA PUBLICITÉ, 18, rue de Par UNION CENTRALE DES ARTS DÉCORATIFS. 107, rue de Rivoli. DÉLÉGATION GÉNÉRALE DU QUÉBEC, 117, rue du Bac. adis. Jusqu'au 1* avril: Charlotte Perriand - Un art de vivre; A Jusqu'au 5 avril: Serge Tousignant, Photographies: Du 10 Jusqu'au 15 avril: Privat-Livemont; Jusqu'au 20 mai: La Pu partir du 1* mai: Amado, Sculptures; A partir du 8 mal: avril au 17 mai: Francine Simonin, Gravures et dessins; Du blicité au Musée de la Publicité; A partir du 28 mai: Les Chefs- Félicien Rops, Peintures, illustrations et gravures. -
Bylsma Megan L 201112 MA.Pdf (794.3Kb)
“BETTING ON SASKATCHEWAN” NATIONALISM, CULTURAL IMPERIALISM AND THE EMMA LAKE ARTISTS’ WORKSHOPS By Megan Lucia Bylsma A thesis submitted to the Department of Art in conformity with the requirements for the Degree of Master of Arts Queen‟s University Kingston, Ontario, Canada (December, 2011) Copyright ©Megan Lucia Bylsma, 2011 Abstract The Emma Lake Artists‟ Workshops from the 1950s to the 1970s were a series of professional workshops held in northern Saskatchewan, under the auspices of the University of Saskatchewan and Regina College, for the creation and advancement of a dynamic arts culture in the province and as a way for the individual artists there to overcome feelings of isolation from the Canadian cultural hubs. Throughout the course of the Workshops provincial and federal attitudes, and cultural policies and perspectives on cultural nation building exerted an overarching influence in the shaping of the Workshops. The Workshops drew the attention and support of many established celebrity U.S. artists and it is due to their presence and influence at the Workshops that it is possible to examine the provincial and national response to perceived U.S. cultural imperialism. The founding and maturity of the Workshops is a case study of the ways in which the politics of Canadian nationalism and the effects of U.S. cultural imperialism in the late nineteenth and early twentieth centuries interacted to impact the growth and development of art communities across Canada. The Workshops serve as an example of the effects, on a regional art movement, of Canada‟s relationship with the United States, and Canadian response to the perceived threat of cultural imperialism from the U.S.