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February 2016 VIEWS February 2016 Board of Directors President's Message Carol Watamaniuk President Miles Constable Vice President Great news! After several meetings with the City staff I am pleased to Lisa Liusz Senio announce that our handicap access is now going to be made accessible! Director For those of you who are not in wheel chairs, walkers or using canes or who are not visually impaired you may not have noticed that the present Bruce Allen Director/Facility Management sign for handicapped parking is a long way from our front door at the end of the sidewalk towards the Curling Rink. It may as well be on Mars! That's Peter Gegolick Director/Planning a long hike on treacherous terrain ( old sidewalks ) to get to VASA's cheery entrance. Rick Rogers Director/Fund Development/ Webmaster Well, thanks to VASA's Director of Facility Management Bruce Allen, the Carroll Charest City's Visual Arts Coordinator Heidi Alther and Jay Mason Manager of Director/Exhibitions Operations Public Works the problem is being addressed. I received an email from Jay recently verifying that in a few days, work will begin at the Staff Danielle Gauther short end of the side walk closest to the entrance to develop a new Executive Director handicapped parking area. This will make a visit to VASA a little easier for Peg McPherson those who have sufficient life challenges and really don't need any more. Program Coordinator Authentic Art We appreciate the City of St. Albert helping to ensure our guests get to the Aurora Leclair Janitorial door safely. It is then up to all of us to make our arts friends feel welcome. Services Coordinator And speaking of arts friends; we also appreciate the many referrals we get Committee Chairs from the staff of the Art Gallery of St. Albert. Thank you. Shirley Vandersteen Exhibition Coordinator Sounds like it's time to start singing the old Beatles tune, " I Get by With A Frank van Veen Little Help From My Friends." It definitely applies to VASA! Exhibitions Volunteer Coordinator Heather Howard Carol Watamaniuk Supply Inventory Coordinator Victoria Armstrong Newsletter Editor Jaime Gordon Events Coordinator Cheryl Moskaluk Horticultural Coordinator 2 VASA Gallery Presents: 2 3 Words of Art — great reads at the St. Albert Public Library by Luise Mendler –Johnson Impressionism in Canada : a journey of rediscovery by A.K. Prakash (2015) Well researched, lavish design with 497 plates and 160 illustrations. With this publication a comprehensive study of Impressionism in Canada is available for the first time: from its beginnings in France, via the dissemination of the new style through artists, gallerists, dealers and collectors in North America, and its incorporation into and propagation within a hitherto conservative milieu, to the reception of Canadian Impressionism both nationally and internationally. The study culminates in the concise portrayal of the lives and works of fourteen of the most significant Canadian artists - including William Blair Bruce, Maurice Cullen, J. W. Morrice, Laura Muntz Lyall, Marc-Aurele de Foy Suzor-Cote, Helen McNicoll and Clarence Gagnon - along with several other artists who for some time also employed Impressionist techniques. In this overview not only are the sources of inspiration in French Impressionism presented but also how masterfully and with aplomb these artists found their own artistic form of ex- pression, which has decisively shaped Canadian Impressionist painting today. (Bring a wheelbarrow, this one’s heavy!) The Idea of North: the paintings of Lawren Harris [curated by Steve Martin et al.] (2015) This generously illustrated book examines the most significant period in the work of Lawren Harris, who was central to defining a distinctive Canadian art in the 20th century. Sparse landscapes of Lake Superior's northern shores, bold visions of the Rocky Mountains and haunting landscapes from the Eastern Arctic are hallmark themes of Lawren Harris's paintings. He was a founding member of the renowned "Group of Seven" artists' group, who believed that the Canadian landscape was central to the foundation of a national identity. Focusing on Harris's most important work of the 1920s through the early1930s, this monograph features a selection of major works that are as iconic in Canada as those of Georgia O'Keeffe and Edward Hopper in the U.S. His remarkable use of color, light, and composition resulted in powerful scenes that reflect his progress toward a universal vision of nature's spiritual power. Drawn from the Art Gallery of Ontario's substantial holdings as well as other public collections throughout Canada, this publicationbrepositions Harris's work and establishes him as major figure within the wider context of 20th-century modern painting in the Americas. Art Quote of the Month “Art must take to the road and risk all for the glory of adventure.” - Lawren Harris North Shore, Lake Superior 3 4 What I have learned About Art through Travel - Miles Constable A Studio, A Studio, My Kingdom for a Studio My apologies to Richard Plantagenet for stealing his lines, if he ever said them. When I decided to seriously pursue painting after a series of lessons it was only natural to look for a place where I could concentrate and be private (and make a mess). As both of our children had left home we had extra rooms in the house so I commandeered one for this purpose. It had all of the hallmarks of a good studio. It was close, free, it had a door and generally north light. I set up my easel, got out my oil paints and brushes and was all set. At that time I was painting landscapes in oil, in a sort-of Group of Seven style, being Canadian I felt obligated to follow in their footsteps. Over the next two plus years I generated 20 paintings in this studio, but it wasn't satisfactory. I'd put in some time on a piece, close the door and get distracted by the tele, house work, gardening, supper, dishes, and all of the myriad other things we do at home. Then I took the opportunity to rent a very small space (8 ft x 10 ft) in the old Grandin Mall from Pat Wagenveld's Studio Gallery. It was smaller than the room at home, and I had to share the overall space with some 10 other artists, and it wasn't free, but I loved it. I had a set time to be there (Saturday mornings) so I'd arrive, open up, get out my paints, crank up my music (it's not like there were any people walking through Grandin Mall) and start applying paint to canvases. My productivity soared, that year I created 12 pieces and the next year 12 more. But more importantly my creativity expanded and I met and interacted with a lot of artists. I think this aspect of being in an artist-run-centre is probably the most important for me as an artist. Over the years I have collaborated with many other artists simply because we were together in a place where creativity could happen. MacIntosh Mayhem, was a group effort about apples, Heather Howard and I collaborated on a duo show, I am currently working in collaboration with others in the Goop of Seven. These would not have occurred if I were at home shut up in a bedroom. In order to collaborate we must be able to communicate, and the best way to do that is face to face. Talking to other people in real time (it's old school but it does work). Now, I have met many artists who say they love their home studio, and can not paint in a place like VASA. I guess they are either more motivated than I, or are perhaps less gregarious. I found that I can paint in public with people gawking at me. I can paint in my studio surrounded by windows. I can paint by myself in a little room. But I prefer to be in my studio at VASA. There is something easy about it, like a well worn comfortable coat. 8/11's of the Goop of Seven at our 2014 show 4 5 Exquisite Art Projects for the Young at Heart—Rayma Peterson National Geographic-style Animals The idea for this project came from a map in a National Geographic magazine. Vol. 195, No. 2, Feb. 1999, “Biodiversity”. The artwork incorporated into the map uses mainly ink and watercolour. Each region’s vignette shows several plants and animals that can be found local to that region. They are integrated into a small loose composition. Students are challenged by and really enjoy this project. The techniques of pen stippling and hatching are used as well as pale washes of watercolour. They develop drawing and compositional skills as well. Students are very satisfied and proud of their compositions. Materials: Photos, magazine and/or calendar pictures of plants and animals of a specific region, such as mountains, seashore, prairie, forest, wetland. 9x12” heavy white paper, watercolor paper is preferable Pencils, erasers Watercolors and paintbrushes Water containers Waterproof black drawing pens National Geographic Map “Diversity of Life” Procedure: Look at and discuss the artwork on the map. Show how each vignette has representative plants and animals from different ecological regions of earth. Show how the organisms overlap each other and that there is a little bit of background, but not very much. (Or look at my sample.) Students then choose from photos provided to select plants and animals of their chosen region. Draw each organism on the watercolor paper with pencil, overlapping shapes to create a pleasing composition. Work from the front (bottom of the paper) to the back (top).
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