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A publication of the Allied Arts Council of Lethbridge (AAC)


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advancing the arts in Lethbridge

t r adayss

u o Y k n Tha

Primary Event Partners

Silver Partners

Gold Partners

Val and Flora Matteotti Experience

Bronze Partners

Media Partners

Streatside Eatery D.A. Building Systems

94.1 CJOC CKUA CTV Lethbridge Lethbridge Herald

Denis & Penny Beaudin

Event Supporters Bowman Arts Centre

Galt Museum & Archives

Chinook Woodturning Guild

The Gate

City of Lethbridge Parks Department

Impact Sound

Culligan Water

LA Gallery

Lethbridge Regional Police Service

University of Lethbridge Art Gallery

Rotary Club Urban Spirits Southern Alberta Art Gallery

Venues Thank you to the over 50 host venues; we appreciate you opening your doors for the arts!

Artists A special thank-you goes out to Lethbridge’s creative community. Your dedication, talent and hard work truly enhance our city!

Volunteers Thank you to our dedicated volunteers. Your contributions are truly appreciated and we couldn’t do it without you!

d i s c o v eire n c e at e e x p e r c e l e br

Publisher Allied Arts Council of Lethbridge 318 . 7 Street South Lethbridge, AB T1J 2G2 T: 403.320.0555 F: 403.320.2450 Arts Council


The Sketchbook Project, an initiative of the

Of course, we have always depended on

Art House Co-op in Brooklyn, New York,

some kind of technology; whether it is film,

engages artists from across the world. Each

paper, floppy discs, ipads or GPS. The Galt

participant signs up online and receives a

Museum and Archives are transitioning their

theme and blank sketchbook in the mail; the

archives to keep them both accessible and

artist is then free to sketch and create within

user friendly by using digital archives (pg

Jana MacKenzie Office Services & Finance

the book. Once completed, it is mailed back

3). The Alberta Media Arts Alliance Society

to the co-op where it becomes part of a trav-

(AMAAS), a province-wide organization cre-

Ashley Markus Communications

elling exhibition that makes its way across

ated to serve media artists and organizations

the world. After the tour, all sketchbooks

in Alberta, looks into the past and into the

enter into the permanent collection of the

future as it celebrates is twentieth birthday

Brooklyn Art Library, where they are barcoded

this year (pg 14). And the City of Lethbridge’s

and available for the public to view. Anyone

newest piece of public art, Catherine Ross’ &

- from anywhere in the world - can be a part

Denton Frederickson’s “Aeolian Aviary”, was

of the project. Technology (the internet)

recently unveiled at the Southern Alberta

plays an integral role in the success of the

Art Gallery incorporating many technical

Sketchbook Project. It brings artists together

elements (pg 7).

Publication date October 2011 Administration Suzanne Lint Executive Director

Vanessa Eagle Bear Reception Programming Claire Hatton Education & Facility Services Darcy Logan Gallery Services

while encouraging the creative process. Marshall McLuhan once stated “Art at its Technology has become ingrained in our

most significant is a distant early warning

lives; many, if not most of us depend on it

system that can always be relied on to tell

for communication, learning and entertain-

the old culture what is beginning to happen

ment. Technology has also entered the art

to it.” There is a great deal of truth to this

world- from digitally projected art to inter-

statement. The challenge for artists is to

VICE PRESIDENT Elizabeth Songer

active online performances; online artistic

find a balance between technology and the

communities to collaborative digital music.

creative process. The ability to view “Carmen”

SECRETARY David Renter

Technology has become an important part of

at the local theatre is a wonderful thing but

life, and thus art.

we must always ensure that we don’t replace

Board of Directors PRESIDENT Gloria Torrance

TREASURER Shanna Bailey

F a l l / W i n t e r 2 0 11


DIRECTORS Christopher Babits Ron Brown Sarah Christensen Carolla Christie Barb Cunningham Tyler Gschaid Jennifer Schmidt Rempel Kim Siever

the extraordinary experience of the live One needn’t look far to discover examples


of digital technology - the Southern Alberta Art Gallery’s fall exhibitions, using the new technology installed in the 2010 renovation and expansion examine how contemporary artists incorporate technologies, new and old, into their practices (pg 6). Many local

Suzanne Lint

arts organizations, such as the Lethbridge

Executive Director

Symphony Orchestra, are using online technology to reach new audiences (pg 16). And

For additional copies contact the AAC office. No part of this publication may be reproduced without the written consent of the publisher.

at a recent exhibition at the Bowman Arts centre, local artist Loralee Edwards investigated the self-portrait and how digital technology has impacted this artistic tradition (pg 11).



Working Together and Yet Sometimes at Odds scroll

By Jenn Schmidt-Rempel, Allied Arts Council Board Member and Managing Editor- Lethbridge Living Magazine

When I was about 14 I had the opportunity to travel to Russia as part of a school trip. One of my most memorable experiences from that trip was visiting The Hermitage in St. Petersburg. It was there that I first encountered Renoir’s Child with a Whip. I cannot tell you why this painting struck me as it did, but the image has stuck with me since. When I got back home I sought images of that painting out for years after– usually looking for it in books at the library.

board blog

a substantial inventory of work that, for a variety of reasons, will likely remain so for some time. Let’s just refer to it as Van Gogh Syndrome, though few if any will ever gain that artist’s posthumous fame.

It can be said without reservation that most visual artists (at least the ones I know) certainly don’t make art for financial gain. Thus, it could be said that the issue of whether a community supports its artists or not is moot. That would be approaching the whole matter from a completely wrong perspective. Let’s, instead, view it from the community point of view. In some ambiguous way there is a symbiotic relationship that exists between visual artists (and probably other 2


Now I can Google it. Technology and the arts. Working together and yet sometimes at odds. Technology allows us to do so many things in and with the arts. Share, learn, access, and break new ground. In this day and age we can find and share works easily. At any time of the day, by simply tapping a few key words into that most magical of search engines, any work of art, in any medium, can appear instantly before your eyes. Paintings, music, poetry, novels, plays, sculptures, architecture, clothing, you name it.

Technology and art working together in itself is an endless work of art. The mind cannot comprehend what the two might achieve when working together. When at one time viewing “Child with a Whip” was limited to my visit to The Hermitage, and the local library, today I can recall that image and any information associated with it in a few seconds. I can also right click on that image, save a copy of it to my computer, and reprint it. I could make and keep a reproduction of that image framed on my wall if I wanted to, never having to visit the original again. This is where I find technology and the arts at odds. Certainly, there is the convenience of finding that elusive piece you’ve been searching for, and certainly there is the ease of making a reproduction of your own. Technology makes that very easy. With the right technology you could even create a reproduction that may almost be indistinguishable from the original.

Usually, along with the particular work you’re searching for also appears a boundless amount of information. When it was produced, by who, where, what it means, how it was inspired, how it has been interpreted throughout the ages, along with how and if it can be purchased or downloaded and made your very own.

I’ve found in my line of work, that it is all too easy for someone to cut and paste the content that one of my writers has so carefully crafted, to right click and save an image one of my photographers or illustrators has spent hours composing and creating, or even taking a screen shot of one of our layouts to print up and save for themselves for use as promotional materials. This is where technology fails the arts, in that it makes it far too easy for people to steal and reproduce the things that artists have worked so hard to create.

Technology has made the arts accessible to anyone and everyone, which is a good thing. We should all have unlimited access to experience and explore the arts.

I think it’s important for all of us to remember, the next time we decide to download an artist’s work in any form, that it’s through their art that they make their living.

Technology also allows artists the opportunity to create in new ways–writing, drawing, designing, building their creations on an endless digital landscape, using technology that is being developed as quickly as they can create their next masterpiece.

Let’s keep the arts and technology working together. Now go Google “Child with a Whip”–you know you want to. AB

Photographs are easily the most popular resource at the Galt Archives. People and organizations routinely use them for various means – compiling family histories, printing largescale vintage images you see in local restaurants and malls, compiling illustrations for books, promotional materials, anniversary publications, calendars, etc.

Archives at Your Fingertips By Andrew Chernevych, Archivist Galt Museum & Archives Andrew Chernevych is the new Archivist at the Galt Museum and Archives. He started in June of 2011, taking over from retiring veteran archivist Greg Ellis. Andrew moved from Edmonton where he used to work for the Provincial Archives of Alberta and the City of Wetaskiwin Archives. Archives are accessible as never before and it just keeps

Compared to a local library, which offers access to mass-

getting better! In recent decades, archives have come a

produced materials like books, archives hold different types

long way from being a secluded – almost esoteric – place

of resources: one-of-a-kind records found nowhere else.

patronized mainly by scholars to today’s mainstream

Among these, personal papers, such as letters and diaries,

institutions offering full public service similar to a local

oral histories, historic photographs and much more. At the

library. The Galt Archives, located at the lower level of

Galt, these include not only materials from individuals but

the Galt Museum, provides clients with a research room,

also records from community organizations (eg. Rotary

reference materials, finding aids, online access, and research

Club), local businesses and municipalities from Lethbridge

guidance from the well-versed staff.

and southwestern Alberta.



for, you just have to start looking” ( actually get their resources from archives, just

The Commons on Flickr

a side note). Photographs are easily the most popular resource at the Galt Archives. People

The Galt Museum & Archives is also

and organizations routinely use them for various means – compiling family histories, printing

contributing to The Commons on

large-scale vintage images you see in local restaurants and malls, compiling illustrations for

Flickr, an international storehouse of

books, promotional materials, anniversary publications, calendars, etc.

archival photos, as part of its ongo-

It does not require specialized knowledge or research experience to find relevant information. Just like that commercial by “You don’t even have to know what you’re looking

ing mission to engage and educate How can you find images relevant to your family or organization? It’s easy – you don’t have to

its communities in the human

leave your computer (or tablet): all the previews along with descriptions are available online

history of southwestern Alberta.

and, yes, searchable by keyword! So finding interesting and relevant images from, say, the

The objectives of The Commons are

1950s is just a few clicks away at When you find the images, you

two-fold: to increase access to pub-

can order them online (be sure to refer to the Fee Schedule) as digital files, or prints up to

licly-held photography collections,

11’’x17’’. This is not much different from your online shopping experience.

and to provide a way for the general public to contribute information and

To make it this easy did not come easy. It took years of dedicated work on the part of the


archives staff and volunteers. The Galt Archives runs a digitization program established by the recently retired archivist Greg Ellis. Years ago, he realized the importance of online access

The Galt was the 28th international,

and with the help of volunteers scanned a massive amount of photographic prints and

and the second Canadian institu-

negatives to be searchable on the Internet. Today the online database of the Galt Archives

tion to sign on. The photos it has

contains more than 70,000 images from 1890s to 2000s and more are added every month.

contributed come from the Archives’

Collections of note include The Lethbridge Herald, de Jourdan’s Studio, A.L.H. Somerville,

holdings and there are no known as-

William Fruet, Terry Bland Photography and A.E. Cross Studio. Only few archives in Canada

sociated copyright restrictions. Since

have their visual records digitized to the same extent!

October 1, 2009, when the Galt’s images first went live, they have been

Besides photographs, you can also use the online database to browse descriptions of

viewed over 578,000 times.

textual records – manuscripts, minutes and reports of local organizations, scrapbooks, maps, inventory of residential buildings and more. To review these materials in detail though, you do have to leave your chair and visit us at the Galt Museum – we’d be happy to help you! AB

Today the online database of the Galt Archives contains more than 70,000 images from 1890s to 2000s and more are added every month.



Besides photographs, you can also use the online database to browse descriptions of textual records – manuscripts, minutes and reports of local organizations, scrapbooks, maps, inventory of residential buildings and more.



Kelly Richardson, The Erudition, 2010, Three channel video projection Photo by David M. C. Miller and Petra Mala Miller


Supporting Innovation

By Ryan Doherty, Curator- Southern Alberta Art Gallery

The Southern Alberta Art Gallery

SAAG can now exhibit the

Technology and Art have been bedfellows for a very long time. Whether the historical introduction of new paints, canvas and carving tools or the paradigm-shifting inventions of photography, film and the Internet, artists are both innovators (readily generating new materials and techniques) and early adopters (quickly incorporating and adapting technology from other fields into their practice). As primary venues for engagement with art, galleries and museums are necessarily invested in technology and continually strive to meet the needs of those artists working with the latest innovations. The Southern Alberta Art Gallery is no exception and a major component of the recent renovation was to update and enhance our technical capacities.

Few people look up in a gallery, however at SAAG that is where much of the action took place with major upgrades in lighting and audio-visual equipment. The former lighting setup, more than 30 years old, was replaced with a commercialgrade system using energy efficient halogen lamps in spots, wall washers, and framing projectors. Amazingly, this new system is the first time the gallery has ever had the capacity to dim the lights, let alone control them with a state-of-theart digital panel able to store multiple lighting schemes. With the means to produce a more nuanced and diverse range of lighting effects, the gallery is far more accommodating to artist expectations and can even offer approaches they may not have considered.

Many of the improvements at SAAG are all but invisible to our visitors. Upgrades to our mechanical systems (heating, ventilation, air conditioning, humidity) have been realized allowing us to maintain more suitable conditions for artworks that can be damaged in environments with fluctuating temperature and humidity. Moreover, the improved airflow and quality offers a more inviting and comfortable atmosphere for gallery goers. Also behindthe-scenes, Category 6 cable is extensively networked throughout the building improving Internet accessibility and audio experiences that are increasingly used as much in the exhibition spaces and classrooms as in our offices.

The new audio-visual equipment is perhaps the most significant improvement SAAG has undergone with regards to technological advancements. While more traditional mediums such as painting and sculpture continue to be avidly explored, we also need to support those artists looking to digital media to produce works from multi-channel videos to multidisciplinary installations. SAAG, in a sponsorship arrangement with Christie Digital Systems, was able to procure three high-definition projectors of a caliber seen in only the largest international museums and galleries. Unlike most projectors designed for home or office use, these new projectors are extremely adaptable, high resolution and can

work of artists that would otherwise have little choice but to decline.



Even the most spectacular looking video can be ruined if its audio elements have been ignored. With more than 35 topend speakers mapped throughout the galleries, library, classroom and gathering spaces, SAAG now has a powerful audio system that can be confined to one zone or opened up to the entire building. Together with an assortment of free-standing speakers, solid-state media players, and wireless audio systems, the gallery is well-placed to execute the increasingly complex installations that come along with new technologies. This fall the Southern Alberta Art Gallery is putting all these new technological improvements to the test with the exhibition Emotional Blackmail. At the same time, the unveiling of Lethbridge’s newest public artwork Aeolian Aviary will demonstrate how Denton Fredrickson, Catherine Ross and many other contemporary artists are incorporating technologies, new and old, into their practices. Emotional Blackmail is an international group exhibition investigating the growing number of artists that are abandoning irony (a powerful strategy in contemporary art of the ‘90s in particular) and embracing sincerity to elicit emotional responses. Many of the works require monitors or projectors, including Benny Nemerofsky-Ramsay and Aleesa Cohene’s installation The Same Problem, a high-definition video that will make use of the 5.1 surround sound audio capabilities of our new Multipurpose Gallery. Other videos by Meiro Koizumi and Tova Mozard will both be projected in the main gallery under normal lighting conditions. In the past, these would have required small rooms built to create a light-tight environment such that picture quality would not be compromised. Moreover, with top-end Sennheiser Wireless headphones, the two works can coexist without the distraction of their audiotracks bleeding into one another. For Aeolian Aviary, Denton Fredrickson and Catherine Ross have created a public artwork that fuses acoustic, environmental, sculptural and community issues. Animating a range of gestures between rest and flight, a flock of hand-cast bronze birds appears to move seamlessly between exterior and interior spaces. Several lengths of music wire suggestive of flight paths offer an acoustic accompaniment activated by the shifting wind and light of the region. The technical equipment and knowledge required to realize this artwork are significant: an anemometer (a device to measure wind speed), custom computer programming, an acoustically designed sound board, knowledge of bronze casting, and the aid of a host of engineers, city workers, architects and acousticians.

Catherine Ross and Denton Fredrickson, Aeolian Aviary, 2010 -11, Digital rendering

work outside of a ‘black box’ environment. The result – SAAG can now exhibit the work of artists that would otherwise have little choice but to decline. As a recent example, the gallery presented Kelly Richardson’s world premiere of the triple channel video installation The Erudition. A rising star working from the UK, Richardson’s work is shown internationally in venues such as the Smithsonian’s Hirshhorn Museum or the Baltic Centre for Contemporary Art, and now, thanks to our technical advancements, the Southern Alberta Art Gallery.

With the success of the renovation, the Southern Alberta Art Gallery is presently able to meet and exceed the technological needs of most artists working today. However, the gallery is acutely aware that innovations in technology are accelerating and if we want to remain at the forefront of institutions in Canada, we’ll need to pay close attention to new developments, be strategic about future purchases (that can often be obsolete before you take them out of the box), and moreover, develop a plan for equipment that is tempting to discard. One never knows when an artist will request a 16mm projector or an old VHS player. As daunting as the task may seem, SAAG’s mandate has always been to foster that which challenges the boundaries of a discourse, and technology is no exception. AB Osvaldo Ramires Castillo, Collapse I, 2011, Animation film 33 seconds Photo by David M. C. Miller and Petra Mala Miller

With the success of the renovation, the Southern Alberta Art Gallery is presently able to meet and exceed the technological needs of most artists working today. ARTSBRIDGE



McLuhan and the Alberta Connection

By Marco Adria, Professor of Communications, University of Alberta

Who is Marshall McLuhan?

Terry Wickham, producer of the renowned Edmonton Folk Music Festival, calls him “the greatest Albertan ever.” Throughout 2011, Albertans celebrate the birth of the influential scholar and public figure born in Edmonton, Alberta, on July 21, 1911. McLuhan was a professor of English, but his analysis of television and other media changed how many people thought about how we communicate with one another. Marshall McLuhan’s ideas have become part of our language. He coined the phrase The medium is the message and the term global village. Through his books, lectures, and appearances on television and radio, he helped many people realize that technology changes how we experience the world. The media we use to acquire information, entertain ourselves or communicate have as much impact on us as the specific content and messages does.



Marshall McLuhan’s ideas first became current more than fifty years ago, yet he foresaw the potential explosion of electronic media that has occurred in the last decade.

The first house in which Marshall McLuhan lived still stands in the Highlands neighbourhood of Edmonton. Marshall McLuhan’s ideas first became current more than fifty years ago, yet he foresaw the potential explosion of electronic media that has occurred in the last decade. We now interact with our environment routinely using everything from GPS devices on dashboards to iPhone apps, and from Wikipedia to Second Life avatars. Digital media has created planetary linkages previously unimaginable – McLuhan’s global village in overdrive. It has also created the intense tribalism he foresaw, like-minded groups gather in electronic pockets. McLuhan argued that we tend to misunderstand, ignore or fail to see change (particularly change following from the use of a new technology) as it happens. He described our use of technology as “extensions” of our human senses. We use these extensions to experience

The media we use to acquire

the world more intensely. We therefore become simultaneously more separated from

information, entertain ourselves

the world, paradoxically resulting in a feeling of “numbness”. While technology is deeply

or communicate have as much

embedded in our culture, we are often only vaguely aware of the implications of our

impact on us as the specific

relationship to it.

content and messages does.

McLuhan spent his early childhood in Edmonton and often referred to the impact of this period on his understanding of landscape, perspective, and patterns of communication. The University of Alberta awarded him an honorary Doctor of Laws in 1971.

McLuhan argued that we tend to misunderstand, ignore or fail to

The Centenary is being recognized in countries around the world, with Alberta having

see change (particularly change

the distinction of being the birthplace of the celebrated media theorist. The University of

following from the use of a new

Alberta is the site of many of the Centenary events, but if you are out and about this fall

technology) as it happens.

you may come across the McLuhan Television Wall, which was launched at the Edmonton International Airport, Domestic Departures Lounge. It’s on display until November 2011. Also, Wave, an art and media installation, is on display until October 2011 at Enterprise Square, University of Alberta campus. Wave invites participants to experience and reflect upon the themes of the McLuhan Centenary by responding to images, text, and sound inspired by Marshall McLuhan’s ideas ( Wave will be moved for display at the Edmonton International Airport beginning in November 2011. Marshall McLuhan was born in Edmonton, raised in Winnipeg, and educated at Cambridge University in England. He taught at the University of Toronto until his death on New Year’s Eve, 1980. You can find out more, including the story of Marshall McLuhan’s life and work and a map showing McLuhan centenary celebrations occurring around the world, by visiting and clicking on McLuhan Centenary 2011. AB



There exists the criticism and perception that ‘New Media’; art in which technology is foundational, is somehow distant from By Darcy Logan, Curator, Bowman Arts Centre

us. Some argue that it removes the hand of



the artist from the creative equation, and can thereby alienate an audience. Loralee Edwards’ exhibition “iGallery: Curated Auto-paparazzi”, which was displayed at the Bowman Arts Centre during the early summer of 2011, was a testament to the contrary. Not only was it personal, and interactive, but it was an exploration of timely technological questions.


Curated Auto-paparazzi As societies shift and change under the pressure of evolving technologies, visual artists are often found investigating ways in which their artistic practices can be informed, in a positive way, by these technological changes. Sometimes New Media can transform the ways in which art is produced, and sometimes it can reflect the context and conceptual concerns of the artist. Sometimes both the means of production and the message of the artist can be about the intersection between technology and visual culture. This was the case with Loralee Edwards’ exhibition “iGallery”. Edwards, who holds both a Bachelors of Fine Arts and Masters in Art from the University of Lethbridge, has a unique artistic practice. Her work is experimental, and is a method to analyse and understand how social roles are constructed. With her “iGallery” exhibition, she wanted to look at social media, in particular Facebook, and the willingness of individuals to self-disclose on these sites. She did so by incorporating New Media, not in a way that was removed and distant, but in a way that invited the active participation of the audience. Edwards used a series of photographic self-portraits as the conceptual spring-board for her exhibition. Over many months she had been posting these images on Facebook. The photos consisted of close-ups of various body parts taken during the intensely personal activity of bathing in the tub, in the private space of her bathroom. For the exhibition, her photographs were displayed on the wall, but the unique and interactive component of the exhibition was a faux bathroom constructed within the gallery space, complete with decorations, clothing, record player, records, magazines and a clawfoot tub. This space within a space was a recreation of a private space from her home. The gallery audiences were, over the course of the exhibition, invited to explore the contents of this ‘room’, try on articles of clothing, and ultimately immerse themselves in Edwards’ self-portraiture process. Attached to the clawfoot tub was an iPhone, with which people could photograph themselves or others. The resultant images were uploaded to Facebook, and could be viewed remotely by anyone with an internet connection. Just as Edwards’ made ‘private’ images become ‘public’ within the gallery, so did exhibition visitors consent to extend this idea by allowing their photos to become part of a virtual exhibition, hosted online. Historically, there have always been intersections between evolving technologies and the visual arts. Whether this is the use of the lens to lend a greater naturalism to Renaissance paintings, the development of etching to allow mass-production of images, or the ascendancy of photography, moving pictures and the internet, new media are a reflection of the time and place that created them. If we, as cultural consumers, remain open we may see a mirror held up our culture, as in the case of Loralee Edwards’ work, that gives us the unique opportunity to stop, and reflect. AB



QA &

Lethbridge’s New Community Arts Centre

How long has the new Community Arts Centre been in the works? The Allied Arts Council and the larger arts community have advocated for an expansion of community arts space for the last twenty years. This goal was realized in 2007 when an expansion project for the Bowman Arts Centre was added to the City of Lethbridge Capital Improvement Plan. The Community Arts Centre is part of a larger vision for the arts in Lethbridge- the Arts Re: Building Together initiative is a collaborative effort started in 2007 between the Allied Arts Council and the arts community which addresses concerns with civic arts facilities. Many of these facilities present challenges: they were built when the population was smaller, or weren’t originally designed as art spaces. Why can’t the Bowman Arts Centre be expanded and what will happen to the building after the Community Arts Centre opens? The Bowman was evaluated and considered, but due to structural limitations and cost, it was determined it was not suitable for expansion. The Bowman is a City-owned historic building and will likely be re-purposed after the CAC opens. Where is the new Community Arts Centre going to be located? The site of the facility will be on the corner of 8 St and 3 Ave S; better known as the old IGA site. It will take up approximately half of the lot, occupying the east side. A future Performing Arts Theatre will hopefully one day occupy the west side of the lot. Why was this site chosen? This site was chosen by the City of Lethbridge. We feel it was chosen because of its ideal location; being situated in the heart of downtown, adjacent to the recently renovated Southern Alberta Art Gallery and a future Performing Arts Centre. The new Community Arts Centre will be part of a growing and vibrant “Cultural Corridor” downtown. The cost savings of purchasing one site rather than multiple sites is also another consideration.



How have the arts community and the general public been consulted & involved with the planning and design for this facility? In 2008, architects consulted with the arts community to develop an initial facility plan. Shortly after the Community Arts Centre was announced, a public call out was made for three community representatives to serve on the Community Arts Centre Steering Committee. The architects met with arts groups to determine user needs and develop a design. The AAC has surveyed the following groups to develop an operating model: • AAC arts membership (over 200 artists and arts groups) • University of Lethbridge Fine Arts students & faculty • A general call was put out through the AAC website. What types of arts spaces will be in the new facility? Exhibition Gallery and Prep Space 2D and 3D Classrooms and Studios Kiln Room, 3D Tech Room and Woodworking Workshop Textile Studio Dance Studio Music Theatre and Music Rehearsal Studio Dressing Rooms Meeting Rooms Administration Space Multipurpose Rehearsal Space University of Lethbridge Conservatory Music Classroom University of Lethbridge Conservatory Music Practice Rooms What is the difference between the Community Arts Centre and the Performing Arts Theatre? The Performing Arts Theatre would be a separate building that would be specifically dedicated to the performing arts. Although the Community Arts Centre will have some space available for performing arts, it is not intended as a theatre or performance hall. A new Performing Arts Theatre would address issues with The Yates Theatre- which is no longer able to fully accommodate Lethbridge’s performing arts community. Further research on funding and operations is currently taking place to identify the next steps for this facility. How is the new Community Arts Centre being paid for? The funding sources towards this project are: • City of Lethbridge: $200,000 • Municipal Sustainability Initiative (MSI) Grant: $14,490,000 • Build Canada Fund (BCF) Grant: $6,000,000 The Total Project Budget for the Community Arts Centre is $20,690,000 Therefore, the City of Lethbridge is paying less than 1% for this facility. What is the timeline for the building of the facility? The Schedule for the Community Arts Centre is as follows: • Design: May 2010 - January 2011 • Tender: February 2011 • Construction: March 2011 – January 2013

Main Floor

Upper Floor



AMAAS Alberta Media Arts Alliance Society By Kelaine Devine, AMAAS Vice-President and Lethbridge media artist

The Alberta Media Arts Alliance Society (AMAAS) is a provincial umbrella organization that exists to promote, support, educate and advocate for Alberta media arts.



For twenty years, AMAAS has been working with and for media artists throughout the province.

Currently, as we do not have a dedicated media arts organization within Lethbridge, local media artists can join independently and reap the benefits of being connected to a much wider provincial and occasionally national and international community.

Media Art is a highly contested

For twenty years, AMAAS has been working with and for media artists throughout the province.

term throughout the arts world.

Amongst the initiatives, is the yearly conference or symposium. This past June, Media Artists from across

How does one define something

the province, including Lethbridge, met to celebrate AMAAS’ 20th Anniversary. This networking event

that is constantly changing

discussed issues in media arts preservation, the future of media arts in Alberta and forged important relationships between artists and member centres. Next year in June, AMAAS will be working with IMAA (our national sister organization) to host a day-long symposium within their conference in Banff.

with the emergence of new technology and practices? This genre of artistic endeavour is

Annually, at our conference or symposium, AMAAS rewards a member of our community with The Spirit of Helen Award. Established in 2005, this award is given in honour of Helen Folkmann, an artist and arts

generally process dependent on

advocate whose creativity, activist spirit, strength and determination inspired colleagues and friends across

technology with a time-based

Canada. An influential and longstanding member of AMAAS, Helen Folkmann passed away September

component. A critical art practice

24, 2004. Media artists and organizations can acknowledge a multi-disciplinary artist, cultural worker or

that embraces both technological

advocate whose contributions to Alberta’s media arts community reflects the spirit of Helen Folkmann by nominating them for this award of $1500. Nominations are gathered in the spring.

history and the cutting edge, media art works can be either

One of AMAAS’ most renowned initiatives is Prairie Tales. This traveling showcase is a feature length

analog or digital and in some

overview of the best independent media shorts created in Alberta. Submitted works range the gamut

case both. Pushing boundaries,

from animation, experimental, film, video and narrative works. The program is widely screened around the province, as well as nationally and soon to be shown internationally. Open to all Alberta artists, the call

this area of practice can embrace

for submissions usually goes out in autumn with the submission end date in January/February. AMAAS is

video, film, digital art, audio,

proud to pay artist fees to all the selected filmmakers.

computer graphics, animation,

AMAAS’ newest initiative is our partnership with the EPCOR CENTRE for the Performing Arts in Calgary to create GAMA – The Gallery of Alberta Media Art. This gallery showcases up to 24 artists annually on a

internet, robotics, electronics, biotech and beyond.

dedicated television monitor in the +15 located near CKUA. Custom designed bicycle seat benches are available for viewers. The gallery is also frequently shown on other monitors throughout the centre. Artist fees are paid and submission calls happen throughout the year. It is AMAAS’ hope to expand this program throughout the province and is actively seeking partnerships to make this a reality.

Because of the scope of this genre and its inclusive nature,

Members of AMAAS range from production centres, media art programmers, film festivals, artist run centres and individual artists from around the province. Our individual members are diverse as the definition of ‘media art’ is so broad. Our definition includes, “Independent, artist-initiated and controlled use of film,

AMAAS defines Media Art as “Independent, artist initiated

video, new media, audio art and related media.” This breadth of disciplines allows for dynamic, synergistic

and controlled use of film,

partnerships between artists and media arts centres. We always welcome new members. Students and

video, new media, audio art and

emerging artists are especially encouraged to join.

related media.”

If you are interested in learning more, becoming a member, submitting work to Prairie Tales and/or GAMA or nominating someone for the Spirit of Helen Award, check out the AMAAS website at or visit our facebook page. AB



What is it? Should we be a part of it? How much time should be we be investing in it?

Social Media

In Action

By Dawn Leite, General Manager, Lethbridge Symphony Orchestra

I have attended a number of conferences during the past few years and some of the most popular sessions have been on the subject of social media (eg. Facebook, Twitter, YouTube, etc). What is it? Should we be a part of it? How much time should be we be investing in it? Is it even going to be around in 2 years? The Lethbridge Symphony Orchestra has been asking these questions as well and, in conversation with the AAC, has been asked to share with the arts community some thoughts about what we have learned about social media. We are not experts in social media, nor do we claim to know everything about social media. What we do know is where to obtain appropriate resources to help us on this adventure in connecting with our patrons online. The conferences and sessions I attended also echoed these statements - because social media is changing very rapidly there is no one quick and easy method to social media.

The Lethbridge Symphony Orchestra has started to use some of these ideas for our Facebook page - we have a Twitter page that is directly linked to our Facebook, but have not yet delved into the fascinating world of Twitter (by connecting the two accounts, we only have to update once). We started posting event listings for concerts, but we would use the status updates to post interesting facts about the upcoming pieces we are performing. I fondly remember when we posted a Muppets version of Beethoven’s 9th Symphony - we were flooded with comments and ‘likes’. It was a great way to engage our community about our upcoming concert without hitting them over the head with our event details. We have also utilized Facebook in promoting contests and have experienced an increase in our ‘fans’ as a result. For an organization our size, we are quite pleased with our reach into the realm of Facebook.

Instead, what is taught at conferences and sessions is that social media should be developed and used within all organizations to engage your patrons, engage your community, and allow that community to be developed. It is the community that supports your events and functions. These are all individuals who have invested in your organization and feel connected to what you are doing. And these individuals form your community of patrons. And while we should all be participating in social media, we are also realistic. We can’t be spending hours upon hours every day updating posts and comments, but we can be engaging with our community and spending a few minutes each day to improve our connections. Experts have expressed that social media should be a part of your marketing strategy. However social media should not replace your entire marketing strategy - it is merely one piece of it. Your social media strategy doesn’t have to be time consuming or costly. Even if you commit five minutes a day to update your status, comment on your ‘fans’ comments, and engage your community, you will see growth in a very short amount of time. There are different schools of thought about how strategic your social media efforts should be - some experts believe you should have a plan similar to your usual marketing plan (ie: a timeline of when and what messages will be posted). Others believe social media works best when spontaneous. In either case, be sure you have a clear message. For smaller organizations who may not have a marketing plan, it is certainly wise to appoint one person to maintain a social media presence. But again, be sure whoever is maintaining your site is in line with your organization’s mission and messages. Your social media strategy doesn’t have to be time consuming or costly.

And if you are struggling for content, use other sources, but be sure to reference the sources. The Lethbridge Symphony likes to post information from Orchestras Canada and other orchestras. By linking up with other organizations, we are also letting their ‘fans’ see our posts. We are creating our own community of organizations that support what we do.



There are plenty of resources available to teach you about social media and its intricacies. The Lethbridge Symphony uses Social Media Examiner, Mashable, and Marketing Profs (all of which are available online) on a regular basis. I encourage you to check out the Facebook pages of the Allied Arts Council, Galt Museum and New West Theatre - these organizations have very dynamic pages! As social media constantly evolves, I research successful practices and incorporate these strategies into the Lethbridge Symphony marketing plan. We have seen great returns with the relatively small amount of work we have dedicated to the Facebook page and we hope to see more arts organizations from Lethbridge join the social media world. AB

In Memoriam:

Martin Oordt

By Richard Amery; editor and creator of an online magazine devoted to Lethbridge’s arts & entertainment scene. Martin Oordt was a big hearted, genuine, warm and smiling man who left an impression on everyone he met - an impression made all the more powerful and poignant since he passed away on April 8, 2011. As an avid supporter of the Lethbridge Symphony Orchestra, the owner/ editor/publisher of Lethbridge living magazine, University of Lethbridge literary magazine Whetstone, the Meliorist and much more, Marty was a cherished and active member of Lethbridge’s arts & culture community. Marty was the type of teacher every student wished they had — one who helped you think for yourself, form your own opinions, think anything was possible and would help you get there by any way he could. The sky was never the limit; you could always fly higher and should always aspire to do so. His enthusiasm for language was infectious. His love for the written word was contagious, and while he could be brutally honest, there was always love in his heart. Above all he was one of my favourite professors who made a huge impact on my life and career. Thanks to his guidance, I pursued my goal of becoming a journalist. And he always remembered. When I moved back to Lethbridge, more than 10 years after graduating and last seeing him, I ran into Marty at, of all places, the recycling centre. We spoke easily, like old friends, and the preceding years vanished just like that. He was just as excited as I remember, called me by name, asked what I’d been doing, asked me about L.A. Beat, which I’d just started. I was touched he remembered me out of the countless students he affected over the course of his career. But he was most excited when talking about the symphony. He encouraged me to write about them. I told him I didn’t know a lot about symphonies or classical music. But he said to give it a try anyway. The last time I talked to him was an interview in January 2011 for an interview about The Lethbridge Symphony’s “Love Notes” fundraiser combining two of Marty’s many passions — art and music. I remember his enthusiasm and youthfulness which belied his age. He was almost vibrating with excitement, his brain working on about six different levels as he always did when speaking about one of his passions. Marty Oordt, you will be always missed, always remembered fondly and always loved. AB

Arthur Ferrari By Christopher Babits and Dan Westwood; Ferrari Westwood Babits Architects

Art was born and raised in Lethbridge. He was a proud ‘North-sider’ and loved his community and his city immensely. He was a graduate of Lethbridge College, the University of Lethbridge and the University of British Columbia. He was recipient of the Alpha Rho Chi Medal with the American Institute of Architects and the Alberta Centennial Medal. Art began work as a Graduate Architect with Ferrari Westwood Babits’ predecessor firm of Watson Horton Architects in 1982. He remained as a Senior Architect at the firm, the oldest continuing architectural practice in Alberta, becoming a partner in 1990. As an architect, Art was proud of his vocation and very involved in helping to maintain the self-governed profession to the highest ethical standard. He served as a Councillor for the Alberta Association of Architects and as President of the association from 2005 to 2006. He was also made a fellow of the Royal Architectural Institute of Canada. Art’s community involvement included the Board of Directors of St. Michaels Hospital, serving on the Senate and Board of Governors for the University of Lethbridge, and President of the University of Lethbridge Alumni Association. Art was inducted into the U of L Alumni Association Honour Society and received the Distinguished Alumnus award from Lethbridge College in 2007. Most recently, Art served on the Lethbridge College Alumni Advisory Council. Art contributed a great deal to the architecture of Lethbridge. He was honoured to have been involved with many key civic and institutional projects in Lethbridge, including City Hall, Police Headquarters, No. 1 Fire Hall, St. Martha’s Church and numerous schools in Southern Alberta. He was also an avid supporter of the arts- and would often be seen out, enjoying one of many arts events in our city. This personal dedication and love of the arts led to his involvement in the plans to expand the Bowman Arts Centre over twenty years ago. These plans have now progressed into the design and construction of Lethbridge’s new Community Arts Centre. Art had a special way with people and a great ability to bring a community together to reach a common goal. Through his work he has touched the lives of so many. Art’s immense presence will be solely missed but in his passing, we have all been lifted by his spirit and brought closer together. AB




...for business & the arts

Thank You 2011 AACE Awards

Allied Arts Council Awards of Excellence Individual:

Robert Tarleck & Dr. Barbara Lacey

Service Organization: Covenant Health, St. Michael’s Health Centre

Business: CTV Lethbridge

Joan Waterfield Memorial Award: Trent Moranz & Maureen Chambers, South Country Fair


Thank You to our event partners Silver

Gold Bronze Joan Waterfield Memorial Award sponsored by:

support the arts

The Allied Arts Council (AAC) is a registered not-for-profit organization with the mandate to advance the arts in our community. The AAC supports artistic endeavours that enhance the quality of life for individuals and our community.

AAC membership

The organization is supported by its members, corporate and private donations


and annual fundraising activities.


Core funding support is gratefully received from:


Name Business (if applicable) Address

New Members: January 15/2011 – August 15/2011: Artist Members:

Allied Members: Alberta Potters Association Ella Kitsul Professional Dance Instructor Lethbridge Legion Pipe Band Association Lethbridge Lightseekers Lethbridge Pride Fest Society

Associate Members: Amp All Audio dB Pro Audio Ltd. Flair Travel Planners Lethbridge Audio Visual Rentals Long & McQuade Penny Coffee House Volunteer Lethbridge Association

Andrea Lawrence Fernando Alejandro Espindola Villar Fran Hutton Ira Provost June Dash Leif Isaacson Marie Moser Patricia Polo Valerie C Jensen

Friend & Family Members: Barb Martens Jenn S. Rempel Shanna Bailey Valerie Stanzl Wendy Osborn Wilma & George McCrea

City Province Postal Code Telephone Facsimile Email Website

Allied Organization






Friend to the AAC


Family Friend to the AAC


I would like to make a donation of $ TAX RECEIPTS WILL BE ISSUED FOR DONATIONS



Total Donation and/or Membership amount

Card# Expiry Date Signature CHEQUES ARE PAYABLE TO THE ALLIED ARTS COUNCIL OF LETHBRIDGE I am interested in becoming an AAC volunteer *Inclusion in Arts Directory Release: I, , authorize the Allied Arts Council of Lethbridge to include my name in publications. Signature: This is in accordance with the Government of Alberta’s Freedom of Information and Protection Privacy Act (FOIP)



of events calendar of OCTOBER


Allied Arts Council . . . . . . . . . . . Lethbridge Arts Days 2011 September 29 – October 2 Downtown Lethbridge Empress Theatre . . . . . . . . . . . . . Spinney Brothers October 27 & 28, 8pm Galt Museum & Archives. . . . . . Songs & Stories from the Crow’s Nest October 21, 2pm Rocky Horror Picture Show October 29, 9pm Geomatic Attic . . . . . . . . . . . . . . . David Francey October 19, 8pm Monkey Junk October 24, 8pm Romi Mayes October 27, 8pm Lethbridge Folk Club . . . . . . . . . Duane Steele with opener – Charlie Ewing October 15, 8pm Lethbridge Lightseekers. . . . . . Gypsy Spirit Dance October 7 Bowman Arts Centre Lethbridge Symphony Orchestra. . . . . . . . . . . . . . . . . . . . Chamber Series I October 7, 8pm Southminster United Church Master Series I October 17, 8pm Southminster United Church New West Theatre . . . . . . . . . . . . In A World Created By a Drunken God September 29 - October 8 Yates Theatre Southern Alberta Art Gallery . . . . . . . . . . . . . . . . . . . . . . Emotional Blackmail: Towards Sincerity in Art Group Exhibition Until November 13 Between Material and Imagination Denton Fredrickson & Catherine Ross Until November 13

Trap\door Artist-run Centre 2011 Annual Exhibition Marie-Lyne Quirion- Participatory Photo works October 17- 24 University of Lethbridge Art Gallery . . . . . . . . . . . . . . . . . . Cereal Gen (Food Series) Until October 27 Main Gallery Cereal Gen (Food Series) Until October 21 Helen Christou Gallery

Lethbridge Lightseekers. . . . . . Gypsy Spirit Dance November 4 Bowman Arts Centre Lethbridge Symphony Orchestra. . . . . . . . . . . . . . . . . . . . Chamber Series II November 18, 8pm Southminster United Church

Moveable Feast November 22 - 26, 8pm Matinees: November 24, 11am November 26, 2pm David Spinks Theatre Braggin’ in Brass November 23, 8pm University Theatre Classical Percussion Concert November 25, 8pm University Theatre


DECEMBER University of Lethbridge Faculty of Fine Arts. . . . . . . . . . . R & J: An Orginial Performance Creation September 29 - October 1, 8pm October 1, 2pm & 8pm David Spinks Theatre The Social Network (New Media Series) October 6, 6:30pm Lethbridge Public Library Theatre

Rossini Petite Messe Solennelle October 15, 8pm U of L Recital Hall The Government Inspector By Nikolai Gogol, adapted by Morris Panych October 18-22, 8pm University Theatre TheatreXtra: Red by John Logan October 27-29, 8pm Matinee October 29, 2pm David Spinks Theatre NOVEMBER november Bowman Arts Centre . . . . . . . . . Christmas Sale Nov 25- 10am – 9pm Nov 26- 10am – 4pm Empress Theatre . . . . . . . . . . . . . International Guitar Night November 26 & 27, 8pm

Kids Choir I November 30, 7pm Southminster United Church

Empress Theatre . . . . . . . . . . . . . Michelle Wright Christmas December 6 & 7, 8pm

Southern Alberta Art Gallery . . . . . . . . . . . . . . . . . . . . . . Helping Yourself Kyla Mallett November 19 - January 8

Galt Museum & Archives. . . . . . Jane Harris Zsovan presents: Coal, Culture, and Confederation December 7, 2pm

Never Odd or Even Gareth Long November 19 - January 8

Film: Wild Rose Country: A Spirit of Heritage December 21, 2pm

Textile Surface Design Guild Journeys in Surface Design November 5 - January 7, 2012 Bowman Arts Centre

Lethbridge Folk Club . . . . . . . . . Lowry Olafson December 3, 8pm

University of Lethbridge Art Gallery . . . . . . . . . . . . . . . . . . Outlandish October 28, - January 1, 2012 Helen Christou Gallery The Lion’s Share (Food Series) November 3 - January 5, 2012 W600 Centre for the Arts, Main Gallery Culture Vulture Saturday: Rub it in! November 19, 10am – 5pm Centre for the Arts Atrium University of Lethbridge Faculty of Fine Arts. . . . . . . . . . . Opera Workshop: All in the Family November 4 & 5, 8pm W570 University Recital Hall

Galt Museum & Archives. . . . . . WWI Letters November 2, 2pm

Requiem for a Dream (New Media Series) November 9, 6:30pm Lethbridge Public Library

Geomatic Attic . . . . . . . . . . . . . . . C.R. Avery/ Wil November 15, 8pm

U of L Singers November 18, 7:30pm Gem of the West Museum

Little Miss Higgins/ The Good Lovelies November 23, 8pm


Lethbridge Folk Club . . . . . . . . . Brock Zeman Band November 12, 8pm

Lethbridge Symphony Orchestra. . . . . . . . . . . . . . . . . . . . Kids Choir I December 7, 7pm Southminster United Church Master Series II December 17 Southminster United Church McGill Blvd. Music & Arts School . . . . . . . . . . . . . . . . . . . . . . Christmas Concert December 3, 7pm New West Theatre . . . . . . . . . . . . Light it Up December 15 – 31 Yates Theatre University of Lethbridge Faculty of Fine Arts. . . . . . . . . . . Passenger Side (New Media Series) December 1, 6:30pm Lethbridge Public Library Theatre Winter Winds December 2, 8pm Southminster United Church New Orford String Quartet December 3, 2pm Recital Hall


For more events, visit the AAC Arts Calendar at Stella Natalis December 3, 8pm Southminster United Church

Mozart’s The Magic Flute February 3 & 4, 8pm Southminster United Church

Vox Musica Sing A-long Messiah December 11, 7pm St Augustine’s Church

U of L Wind Orchestra & Sir Winston Churchill HS Symphonic Band (Calgary) February 9, 7:30pm College Drive Community Church

JANUARY january Empress Theatre . . . . . . . . . . . . . African Guitar Summit January 18 & 19, 8pm New West Theatre . . . . . . . . . . . . If You Give a Mouse a Cookie December 26 - January 7 Sterndale Bennett Theatre University of Lethbridge Art Gallery . . . . . . . . . . . . . . . . . . Notebook (art + People = X) January 6 - February 24 Helen Christou Gallery University of Lethbridge Faculty of Fine Arts. . . . . . . . . . . Blaine Hendsbee & Friends January 18, 6:30pm Recital Hall The Orphanage (New Media Series) January 18, 6:30pm Lethbridge Public Library Theatre Big Band Cabaret January 21, 8pm U of L Ballroom (Students’ Union Building) TheatreXtra January 26 - 28, 8pm Matinee: January 28, 2pm David Spinks Theatre Abbondanza January 28, 6pm CoCo Pazzo Italian Café FEBRUARY february Empress Theatre . . . . . . . . . . . . . A Stan Rogers Tribute by Nathan Rogers February 22 & 23, 8pm Lethbridge Folk Club . . . . . . . . . Sultans of String February 11, 8pm University of Lethbridge Faculty of Fine Arts. . . . . . . . . . . The Necessities of Life (New Media Series) February 2, 6:30pm Lethbridge Public Library Theatre

The Game of Love: Winners & Losers February 10, 7:30pm Lethbridge Public Library Theatre Hamlet by William Shakespeare February 14 - 18, 8pm Matinee February 16, 11am

Contact information for each event/organization: Allied Ar ts Council 403-320-0555 Bowman Ar ts Centre 403-320-5771 Empress Theatre w w w. e m p r e s s t h e a t r e . a b. c a Galt Museum & Archives w w w. g a l t m u s e u m . c o m The Geomatic Attic w w w. g e o m a t i c a t t i c . c a



Lethbridge Folk Club w w w. l f c . a b. c a

Empress Theatre . . . . . . . . . . . . . Caladh Nua March 15 & 16, 8pm

Lethbridge Lightseekers 403.524.1217

Lethbridge Folk Club . . . . . . . . . Andrew & Zachary Smith March 24, 8pm New West Theatre The Kitchen Witches March 8 – 17 Yates Theatre University of Lethbridge Faculty of Fine Arts The Tree of Life (New Media Series) March 1, 6:30pm Lethbridge Public Library Theatre TheatreXtra March 1-3, 8pm Matinee March 3, 2pm David Spinks Theatre Plays & Prose Competition Winners March 15, 7pm David Spinks Theatre PIANISSIMO! March 17 The Madonna Painter or The Birth of a Painting by Michel Marc Bouchard March 20-24, 8pm University Theatre Essentially Ellington March 24, 8pm The Gate Global Drums! March 30 & 31, 8pm University Theatre

Lethbridge Symphony Orchestra l e t h b r i d g e s y m p h o n y. o r g McGill Blvd. Music & Ar ts School w w w. m c g i l l m u s i c a n d a r t s . c o m N e w We s t T h e a t r e 403.329.7328 Southern Alberta Art Gallery Te x t i l e S u r f a c e D e s i g n G u i l d w w w. s u r f a c e d e s i g n l e t h b r i d g e . c a Tr a p \ d o o r A r t i s t - r u n C e n t r e w w w. t r a p d o o r a r c . c o m U of L Art Gallery w w w. u l e t h . c a / a r t g a l l e r y U o f L Fa c u l t y o f F i n e A r t s

On the Covers: Photography by John MacDonald John MacDonald

Ph: 403.524.4440

ArtsBridge Fall/Winter 2011  

Theme: Arts & Technology. The ArtsBridge newsletter is published twice annually- once in the fall and once in the spring. The newsletter bu...