January/February 1987 - Alberta Craft Magazine by Alberta Craft

ALBERTA/ MAGAZINE

WOOD JANUARY/FEBRUARY

1987

Olympic Update - Marketing Opportunites Furniture in Wood

Music Through Wood Birch Bark Biting

The Alberta Craft Council's

HeimbeckerGala

ACC Annual General Meeting May 9, 1987.

Official Licensee

ISSN 0833-8248

Council Contacts: MemoFrom The President,

President

Les Manning,Canmore 678-5216 (h) or 762-6211 (w)

Les Manning

"Happy New Year" on behalf of and from the Board of Directors of your ACC Council. At this pivotal point in time, moving from the old year to the new, it would be valuable to reflect as well as make a few predictions. In reflecting, there is no doubt that the momentum of our organization is building and I only hope we can keep it on track as we plow headlong into 1987. Major events have this past year to demonstrate the motivation of the Council.

The Heimbecker Fundraiser was a prime function, proving the initiativeof the fundraising committee to provide extra resources for the Council and its programs. I want to publicly thank, first the key organizers,and those many dedicated craftsmen who worked behind the scenes to make the whole event so rewarding. There is no doubt that beyond fundraising this event raised the profile of crafts in this province considerably. With our November/December issue of Alberta Craft, one of our first critical announcements was made in regard to the collaboration engaged in with the Olympic culture organization. As I am sure you have read we are now an Olympic Licensee which paves the way for the craftsmen of this province to produce objects, on approval, that will bear the Olympic symbols. Tnere will be tremendous opportunityfor marketing your personal craft designs as well and that will all be clarified very soon. To make prediMions is usually shaky at best, however it is clear to the Council that '87 will be a very key year. Not only will each artist have their usual production commitments but they will have to consider the extra required production necessary to guarantee the success of our venues for the Olympic Marketing, immediately into 1988. This means we will be faced with having something equal to two Christmas Markets in 1987 and the beginning Of 1988, which will no doubt not let up for the next year. Basically we muld be faced with one of the largest craft booms witnessed in Alberta. The craftsmen of this province will face the challenge of not only producing for such a market but will have the added pressure and stimulation of demonstrating creativeness and personal imagery that retains a high aesthetic level. I remain very optimistic and excited about their prospects. We need to prove the abilities of our community and provide our admirers/supporters/collectors with the high quality crafts they have grown to expect.

Vice-president

Margaret Best, Calgary

259-8304

Past President

Bonnie Murdoch,Calgary

246-6674

A New Look For

Treasurer

ACC

Don Smitten, Edmonton

475-5593

A new visual identityfor the ACC was approved at the December 6 Board meeting. The Council is experiencing a period of tremendous growth, particularly with the announcement that ACC has become an official Olympic licensee for member craftspeople. All this activity prompted the recognition that the Council needed a bolder, more sophisticated visual image. During the coming years you will see the new image regularly on stationery, publications, exhibits, marketing and educational programs.

Secretary Martha Campiou-Zarutzky, Winterburn

447-3493

Directors Pat Barford,Edmonton439-2934 Karen Cantine, Edmonton 452-5615 Joyce Chorny, Calgary 268-5270 Don Doherty, Edmonton AnnetteGreenberg, Edmonton487-0714 Tony Mandamin,Edmonton483-6053 Katherine Hutton, Edmonton 439-0861 Marilyn Prodanchuk, Cochrane 932-6632

Area Representatives

Our newidentity carries a message of contrasts: tradition and new directions; craftsmanship and experimentatbn; convention and spirit.

Lynne Hunter-Johnston, Lethbridge 320-2441 Shannon Read. Rod Door Leni Balaban, Fort McMurray 780-1753

This inaugural issue of the new Alberta Craft Magazine is a major component of the new image program. We hope you like what you see. With each issue the larger format, emphasis on visual material, and editorial direction will be refined. This is an experimental issue; we welcome your comments,suggestions andcontrbutions. Each issue will focus on a particular craft medium and a representative group of craftspeople. We expect to feature textiles in the next issue.

ACC Office

Your contributions are welcome for: letters to the editor, items for a gossip column, poems, cartoons, short articles, feature articles, professional updates and calendar events.

Fifth Floor, Mcleod Building 10136 - 100th Street Edmonton Phone 428-1654

Executive Director

Bobbi Hoffman

The Alberta Craft Magazine Is published every othermonth.Suggestions, Ideasand criticisms are welcome so please send your Ideas to the ACC office for consideration. We also welcome letters to the editor which will be considered for publication. Anonymous letters will not be published. Please remember that we work up to three weeks ahead of publication. Deadline for material for the 1987 Issue will be Monday, March 16.

I would like to thank Tom McFaII and Pat Barford for their countless hours of assistance and input in designing a new identityand Craft Magazine. The Board has been a continuing source of support and enthusiasm as we move through a period of transition.

NOTICE: Due to an Increase In paper and printlng costs, the Alberta Craft Council has been forced to raise the price of marketing tags from $3 to $5 per 100, plus postage.

JANUARY/FEBRUARY 1987ISSUE Produced by VISION GRAPHICS & PRINTING LTD.

Katherine Hutton Director

ALBERTA—' "COUNCIL

OLYMPIC UPDATE MARKETING OPPORTUNITIES

NATIONAL NETWORK Fifteen provinciabterritorialand national cran and visual arts organizations are participatingin the establishment of the Canadian Craft and Visual Arts Information Network, a bilingual Canadian computerized

by Margaret Best The press release in late November 1986, reportingthat the Alberta Craft Council had become an official Olympic Licensee, has been received with considerable enthusiasm. We have been literally bombarded with phone calls and letters from boththe public and craftsmen alike. The media in Edmonton and Calgary - television, radio and newspaper - generously gave the Alberta Craft CounciPs licensing program welcome coverage. This has helped to spread the good news far and wide.

Co-ordination for the projectwhich was inmatedin 1984, is being provided by the Canadian Crafts Council through a project managment committee. The Alberta Craft Council is aquiring a computer withinthe next few weeks and hopes to participatein this national network. The systems will be linked through existing telephone lines. The associations participatingin formation of the network are involved in information collection, retrieval and dissemination. They must provide and access informationon an basis to serve both the associations' constituents and the broader

craftsmmmunity. The organizations will have their own autonomouscomputer systems and each will be able to access and inputintoa shared data base. More intormaion on this network and the

ACC's particwationwill be revealed during the next few months.

Win A Handcrafted Gift

fromACC

When a new member joins the Alberta Craft Council or when a current member renews, each becomes eligible to win a gift of a handcrafted item. Draws are made just prior to publicationof the Alberta Craft Magazine. This month's winner is a new -Morinvil)e.

Anita Dumas, president of the Alberta Potter's Association donated the gift - an exquisite cut-porcelain vase trimmed in gold.

General Craft Marketing at the XV

Olympic Winter Games

Calgary 1988

Olyr* Wintr Garr—

S Offldal

@ Canadan Olympic Association 1979.

As stated in our last newsletter,the Alberta Craft Council has secured strategic locations for the marketing of crafts during the Olympic Games. Detailed planning is still in progress and therefore we are unable to provide you withfinal informationright now. We wish to pointout however, that licensed craft items form but a part of the totalcraft retailing program. If your work is not selected for licensing or if you do notwish to produce licensed items, you will still be afforded the opportunityof making your work available for retailingduring the Games.

We, at the Alberta Craft Council, have been delighted with the positive reactions resulting from this announcement. Our membership has expanded by approximately 30%. The strength of our organization is directly linked to the strength of the membership and a growth such as this will help us to serve you better. It seems however, that despite all the publicity and the detailed information in the November/December issue of Alberta Craft, many of our members have not interpreted what this licensing program involves. BY th Of Alberta Craft reaches you, time this the deadline for registration of intentto participatein the production of licensed craft, ie. Olympic symbols applied directly on or incorporated in the surface of the object, will have passed. This registration was one of INTENT only. If, after you have received the disclaimer letterfrom OCO '88 and the informationpackage from ACC, you feel that you do notwish to produce prototypeswith the given rules and regulations, you may withdraw without obligatbn. OCO '88 Marketingwas emphatic that strict control concerning the number and details of individualswishing to participate, had to be exercised. This control ultimatelyprotects the selected craftsmen. No non-registered craftsmen will be able to produce licensed craft. There are however opportunitiesfor other craftsmen who feel that the application Of Olympic symbols is not aesthetically compatble with their craft form. You may consider producing items Of a Canadian or Albertan theme - the possibilities are endless. Items such as these will hold a potentialinterestfor the internationalvisitor wishing to take "a piece Of Canada" home. The marketabilityof a quality hand-crafted item is significantly enhanced if some element makes it dentifiably indigenous. If this type of object is not of interestto you and you wish to make available items that you currently produce, there are other possibilites. As the Alberta Craft Council is licensed, we are able to package any craft item in material bearing the ACC and official Olympic logos. Thus a craft item not bearing the symbols, may become an "official"gift item by the very nature of its packaging. The licensed packaging will not be for sale to the membership, but strictly controlled through

theACC.

What do you do if you misunderstood the articles concerning the licensing program and Olympic marketing opportunities? Make sure we are aware Of you sandyour craft as soon as possible by supplying us with good slides for our slide registry. Even better, supply us with a professbnally presented portfolio.Without strong visual material we are unable to represent you properly. The ACC has established a special committee whose purpose is to seek commissions for

ACC membershipfromgroups such as

official Olympic sponsors, sports federations and other organizations directly involved withthe Calgary Olympics. It is hoped that craftsmen will be considered for limitedseries and one-of-a-kind commissions. We look forward to hearing from you and hope you are as excited about an Olympic involvement as we are. Keep watching Alberta Craft Magazine for current information. We shall keep you informed of details as progress is made.

XV WinterOlympic Marketing Opportunity

For any further informationyou require please call

Bobbl Hoffman Executive Director Alberta Craft Council (403) 428-1654 or (403) 428-1660

FURNITURE IN WOOD By Phylis Matousek The Oxford dictionary defines craftsman as a "skilled person." But many craftsmen are more than that - they are artists who create functional sculpture. Woodworkers comprise one such group. Step into a woodworking shop such as The Furniture Makers in Calgary and the senses are assailed with the sweet aroma of wood, the vision of exquisitely crafted furniture, •andthe uncontrollable desire to touch the smooth, polished wood. Mthael Mulvey, one of the 'furniture-

makers," designed and created Shaker-style wall desk of Koa wood from Hawaii. Koa is

one of Mulvey's favorite woods because of the cobr, the grain and versatility. This was a labor of love for Mulvey. "I'd always wanted to build one but I never got a mmmission. But since we'll be showing our work in an upcoming show at the Muttart, I thought this might make a good item for

display and hopefully to create some public interest." The simplicity of the unit is deceiving. Every square centimetre is perfect - there is no way to ænceal a defect in either the wood or the workmanship. When cbsed, the desk appears to be just

another cabinet, although beautifully crafted. Open it, and the front which is surfaced in real pigskin comes down as a writingsurface, pigeonholes permit easy filing for letters and bills, and small drawers, each one finished as perfectly as the exterior, open and close smoothly. Mulvey follows the true craftsman's credo -

never use a nail or glue. Every joining is

done in the traditional mortise and tenon style.

Stains are rarely used; these craftsman augment the natural wood with oil, rubbing it intothe grain untilthe wood gleams. Occasionally, when a piece of furniture might be exposed to spills, a clear lacquer is used, Mulvey says.

The third member of The Furniture-Makers is Henry Schlosser, who claims working wood gives him a "special feeling". The variety of grain and color in thedifferent woods give him the sensation of "It's alive - the things you can make of it - that's exciting".

Another unit Mulvey has created is another Shaker-based piece, this time a lap desk, made of black walnut, again showing the craftsman's adherence to his principles of

fine workmanship.

He should know whereof he speaks - he's been a woodworker for some 30 years and is

A coffee table by Mulvey is another piece of evidence that he considers woodworking as a serious art. Using Koa wood again, he took full advantage of the wood's grain, choosing the straight of the grain for the legs, and figured wood for the top and side panels.

currently teaching furniture-buildingin Calgary public schools. It's in his classes that he's noticed an upswing in interest, even enthusiasm among his adult woodworking students. Many, he claims, want to build furniturefor their own use.

The unique designs of The Furniture Makers and the high level of hand•crafting,makes the pieces more expensive than "offthe rack" furniture.

A dock Schlosser made marks his expertise in creating quality furniture.The side panels are of Honduras mahagony, curved in an abstract version of an hourglass. The face is an unusual use of rosewood veneer with the numerals and hands of holly wood.

"There's no way we can compete with firms like IKEA," Mulvey explains. But to the customer who wants a unique item, and is not cost-conscious, firms like The Furniture Makers offer an alternativethat assures

timeless quality. The senior member of The Furniture Makers John Morel - has spent a lifetimepursuing a goal of perfection in working wood to its ultimatepotential.He and other master woodworkers examine a piece of wood before even starting to work it. How to use the wood's texture and grain, how can it be used to its best advantage - are only two of the factors considered. He believes that no matterthe size of the piece he creates, it must be perfect. The entire area of a desk made of Honduras rosewood is finished. No matterthat no one can see the back or the underneath - Morel's

philosophy prevents skimping. The drawer pulls are carved in the shape of roses, and the carved legs bear further evidence of Morel's creative spirit.

A chair, desÜned and created by Morel, is simple but elegant in warm Koa wood, trimmed by a thin ebony strip laminated between the pieces front and bad'. A black velvet seat cushion completes the sophisticated60k. Boxes made by this master woodworker are as beautifulas the contents -jewel-like in concept and workmanship.

Detail of John Morel's desk.

"Music through Wood" by Dene Cresswell Overlooking the beautifulTawatinaw Valley near Athabasca, a craftsman breathes life intowestern red cedar, Honduras mahogany, Brazilian rosewood and other exotic marterials from around the world. Douglas Haslam who has his own business Kodama Woodworking - in Calgary and is a member of the Southern Alberta Woodworkers Society his furniture with a specific wood in mind, "one that fits the design.'

His day-job is teaching art and crafts at a local junior-seniorhigh school, as well as lutherie to interested students. In his spare time he retiresto a well equipped workshop and creates beautifulcustom built gunars. His clientele, for the most part, are discerning musicians who appreciatethe hours of skilled craftsmanship lavished on each of his instruments.

He sees the increase in orders for customdesigned furnitureas a result of dissatisfaction with mass-produced furniture that has a short Fifespanand concentrates on trends or fashion.

A graduate of the School of the GuitarResearch and Design Center in Vermont, his educational background also includes a B.F.A. from an American university and a major in IndustrialArts from the IJniversity of berta in Edmonton-ea.av

Custom designed furnituremeets a customer's exact requirements and taste. now, fine art is coming into crafts."

"l used to build clocks and other furniture,"

says Canadian-born Ernie Stobee, "buta guitar is something special. It's a living thing. It's Ike giving wood a voZe."

A chair created in walnutby Haslam reflects the timelessness of true quality.The slight Oriental flavor gives it a versatilityand adds to the concept that it will be as much in style 50 years from now as it is today.

Stobee's workshop is a well-builtenergy efficientstructuredesigned specifically for his craft. It boasts a spray booth,good lighting, and plenty of electrical outlets for all his woodworkingmachinery.

As these men agree -there may be many hot%yists - there are only a few true craftsman who are dedicated to creating.

The machines in his workshop include a I O"

table saw, a jointer,a drillpress, a belt sander, a large air compressor for air tools and spraying equipment,and two band saws. One saw is used exclusively for resawing material,some of which comes directlyfrom the forests. His shop also has a

Mke Mulvey

Henry Schlosser

thickness sander and a large 16" bufferfor polishingthe beautifullacquered instruments.The walls in Stobee's workshop are covered with racks of well cared for hand tools and countless jigs and patterns used in plying his craft. "Of utmostimportance are the materials used to build the instruments."says Stobee, ul triedto buy materials from lutherie supply houses but oftenthey would send me pickedover wood, so I purchased alargøband saw and now I mill all of my own material. It makes quite a difference having the best woods perfectly quarter sawn. I wouldn't consider using second rate materials in the guitars I build." "It gives me a lotof pleasure to hear an accomplished musician make music pour from one of my instruments." Asked if he would be willing to give up teaching to build instrumentsfull time, Stobee says, "I don'tthink so, I enjoy teaching and I would be afrad thatthings might change if I had to make my living buildingguitars. As it is, I make guitars because I want to, not because I have to. When I retirefrom teaching I'll make guitars full time."

Birch Bark Biting The Art of Dental Pictographs by Tom Paulsen

The art of birch bark biting dates back into the early dawn of native American history and survives today in very limited forms... an almost lost art form. Although most graphic forms consist of paint, paper, stone or hide, birch bark biting is entirely made up of several microscopic layers of bark. The design is achieved by compressing the cellular fibres to form the design. The only tools used after the preliminary collecting of bark from specific trees are teeth and

deft fingers.

In Remembrance

NikitaTyschuk Nikita Tyschuk was born in the Ukraine in 1906. He immigratedto Canada in 1939. From 1940 to 1973 he farmed in the Moon Lake, Alberta area where he lived with his

wife Paraska in Evansburg.

Nick learned the art of basket weaving as a young boy tending cattle in the pastures of his Ukraine. After retiring from his many years of farming he was able to turn to this childhood learned pastime and feel useful and productive withthis artform. Nick gathered his willow around the Evansburg area in the fall and very early spring of the year. After the willow was gathered and trimmed, an average large basket took about 18 hours to complete. The willow was used in its natural state and the baskets when woven retain their shape, color and natural beauty for many years. The baskets are not only beautiful but are very functional; their uses unlimited. The Department of Agriculture together with CBC TV featured Nick and his baskets on the FACT program which aired throughout Alberta in December, 1978.

Today the blings are usually framed and treated as most graphic art forms. As with other artists and craftsmen, the biter has the desÉn in mind before beginning. When the process begins it is almost impossible to descrbe. The bark which has been folded in a spedfc manner is placed in the mouth. The perimetres Of the foEed bark are cornpressed with the eyeteeth (usually) using a sharp pinch or a grinding motbn, depending upon the effed to be achieved. When the pattern is mmpleted, the bark is unfolded and the design appears. The designs usually mme from vegetation, insects, birds, and humans all in stylized form. In times past the bitings were used as embroidery and patterns for possbly quillwork There has been a span of 100 years with very riffledocumentationon birch bark biting. However, during the early '70s and '80s the resurgence of Native awareness, partbularly Native art and craft forms has an increased interest in the techniques and skills that have been gradually fading from society. eæh biting is in itself a sonature, and toothmarkunique, artisans such beginning to sign their myself are

TomPaulsencomes from Cherokeeancestry.He learned his art from his grandmother's Hisresearchon Nativecraftsis publishedin the UnitedStates and Canada His work is in collections and

exhibitionsin Germany, Holland, England, Australia, Japan, Canada and the United States. Tomis a member of the Alberta Craft Council.

Nikita Tyschuk passed away September 18, 1986. His daughter Nancy Gall of Edmonton featured Nick's baskets at the 1986 Annual Art Gallery Art Fair.

The Alberta Craft Council's Heimbecker Gala

by Bryn

The evenirg was planned to raise funds to include a crafts gallery in the Alberta Craft CounaTs marketing plan. Patrons were offered a special evening for the price of theirtickets as well as one chance in five of winning a unique piece of work in the draws to be held throughoutthe party. artists were asked to make a taxdeductible donation of york to be drawn as prizes for the evening. In each case, the value of the work donated was required to be greater than the ticket price of $75.00. The artists respnded with enthusiasm and the prize gallery was filled with a selection Of excmng pieces reflectingthe full scope of the dishes. jewellery, hand painted and hand yardages. wooden boxes, a tapestry, silk paintings, basketry, sculpture, clothing and wall hangings. When touring the gallery, the guests responded with enthusiasm and in many cases, sought out the artists for furtherconversation. Each draw generated considerable excitement and suspense. The choice, for the lucky winners whose names were drawn, was often long and difficult. Calgary's mayor, Ralph Klein, made the first series of five draws. Dick Shaw was the first guest to make a choice from the gallery. He chose Dave Settles' large porcelain vase. committee, led by Bonnie Murdoch and Joyce Chorny. to providethe best for the guests. The site of the Heimbedqer house, west of Calgary set the tone. The house stood for years in Winnipeg untilit was moved, brick by brid(, by Philip Heimbecker to Is present site. The house is builton the scale of the turn of the century and furnished with European antiques and objets d'art.As cars swept up the drive to the large frontportico, volunteers led by John Morel, provided valet parking. Within,as music played, guests sipped fine wines, including this years Beaujoulais Nouveau, and enpyed canapes, fruitand elegantly prepared cheeses. The h'ors d'oeuvres were created by more volunteers - the evening had a staff of thirty-four- led by Noreen Neu, in the Heimbedqer kitchen. More •staff", identifiedby orchid corsages, moved among the guests serving food and wine. As the evening ended, each piece was packed for travelling and the guests given a good-bye bag filled with gifts and mementos. The work of the evening continued into Sunday. The Heimbecker house had to be returned unscathed to its family. John Morel and Doug Haslam waxed the 1500 square foot floor on their hands and knees.

On Friday, November 22, the Alberta Craft Council hosted a special event. One hundredand fiftyguests sipped fine wines and nibbled canapes while live music played in the background. The occasion was the Craft Council's first fundraising gala held in the historic and elegant Heimbecker house in Calgary.

The party was sold out and a major success.

ARRIVINGBY LIMO (l. to r.) Allan Cozzubbo, Raphael Thompson, Charles Thompson, Jo Grant, Chris Dancey

STILL SMILING

(l. tor.) Dom/anurParkan, Murray Gibson, Sharon Gregory,April Mains, BillMorton

The Wholefood team worked from dawn to dawn (well, nearly) to prepare a glorious menu. We couldnt have done it withoutDomla.

DECISIONS, DECISIONS

(l.tor.) Robin Beddes, Bryn Pinchin, Karen Wonders ACC

volunteer Pinchinrecords

Mrs. Beddes' winningchoice silkyardage by Chris Dancey.

The funds raised will go a long way toward the realization Ofthe gallery. As well, it provided an occasion for artists to present their work personally to potentialpatrons. Good solid marketing contacts were made for the Council and for the individual artists.

FIRST DRAW WINNER Murray Gibson designed and co-ordinated the printingof a catabgue of the pieces in the prize gallery which was given to each guest. The catalogue mntained a pk:tureof each piece and an artist's statement. It, in itself. is an image of the evening's success substantial,clearly focused and welldesigned. The Alberta Craft Council made its mark November 22.

(l.tor.) PhilipHeimbecker, Mayor Ralph Klein,Dick Shaw Mr.Shaw chose DavidSettles' large stoneware vase withgold lustre.

Oil Finishes ALBERTA CRAFTS WOWEXPO

by Ron Genge Most prepared oil products have additives which change the behavior and end result of the mixture. These additives are fillers to partially close the open grain and driers to speed up the drying time between coats. The additionof these additives results in a less dense oiled surface because the actual oil content may be as low as 35%, requiring many more applk:ations to achieve a good finish. However, there are two products which are 100% oil with NO additives, and these can be used very effectively in a number of situations.

Fn I

011

Long before the proprietaryoil preparations were available for wood finishing much of the oil finishing was done with this basic material. It works well on woods that are hard oak, teak, rosewood and ebony etc., but can be used, even if somewhat less effedively, on other softer woods. The method of use is very similar to those described for other oils exæpt that this oil should be allowed to soak intothe wood for before sanding with the grain to a-Q-mj.n.utes form the •mud"withthe sanding dust and semi-dried oil lefton the surface of the wood. This mud is ru±ed vigorously intothe open pores of the wood, using a marse cloth at right argles to the grain direction. A final wipe down with a softer cloth, along the grain, ensures that no residue remains on the surface. After one or two days, when the surface is down withfine dry, it shoud be lightly steel wool. following the grain direction wherever possible. Each day or so after this first heavy coat of oil has dried the item is wiped over with a soft chth whZh is dampened with linseed oil. This will build up a sheen on the surface. Depending on how hard the wood is from three to six such applications will be necessary to produce a

soft sheen. It is not desirable to steel wool

the surface between these rub-downs unless the surface is still rough. A yearly rubdown with very fine steel wool followed by a damp rag application Of oil will keep the surface in good condition. Only BOILED oil should be used, NEVER raw linseed oil.

This oil is sold in drug stores for medicinal purposes but can be very effectively used when finishing any food utensil. Most other oils are eithertoxicor have an unpleasant odor, some may go rancid, so are quite unsuitable for items which are used for food. This oil is used the same as linseed oil but will take much longer to dry so the whole process must be slowed down to allow adequate drying to take place. In most cases this Willmean doubling the time between each operation. This type of oil will not produce as high a sheen as the other types of oil but will be quite adequate for most requirements.

DUAL OIL FINISH Where a higher shine, and a more durable _ surface is required. it can be achieved with a combinationof linseed oil basefolbwed by an additionof one of the many oil preparations on the market. The article should be finished, as outlined above, with boiled linseed oil. After this process has thoroughly dried, about one monthor more, the second phase should be started. Using a proprietarybrand oil preparation on a soft cloth apply daily applications, rubbing more vigorously than the normal rub-downs discussed earlier. This process should be repeated daily untilthe surface has builtup a deep sheen. Usually this takes three to five applZations depending on the type of wood being finished. The deeper finish and brighter sheen is due to the heavier base coating of the afforded by the 100% oil linseed oil plus the harder drying property of the other oil preparation used as the final surfacing agent. When the properties of the varbus oils have bemme known it is then possible to vary the combinations to achieve a variety of finishes desired in each specific case. This artZIe is reprintedfrom the NAWC Newsletter#24, November 1986. Ron Genge is a member of the Northern Alberta Woodcarvers Association.

by Pirkko Karvonen Alberta craftspeople made a big impact at Expo '86. It started more than a year before the fair when a competition was held for craftspeople to demonstrate at the Alberta Pavillion, and preparations began as soon as the selections were made. I was the first to demonstrate weaving and spinning in June and July. Our craft had to reflect Alberta, either in technique or material. My choice of wool was from Alberta sheep, mostly Corriedale, which I'd already spun and woven into samples of baskets and belts. At that time I didnt know my audience would be changing every five or ten minutes. I quickly realized I couldnt make my baskets fast enough to keep up with the demand. Word got out that I was giving away baskets and I was swamped withrequests. I also had my audience partZipate in guessing what fibre I was spinning. At this point, I asked people if they'd like to learn to spin which went over very well. Many people took home samples of Alberta wool they'd spun at Expo.

At the same time, Rae Hunter and her husband were down the way at the 'Folklife' Pavillion. Rae made baskets of natural materials found in Alberta such as reeds and willows, while her husband made rustic looking furnnure.

Back atthe AlbertaPavilion, Tony Wispinski of Sherwood Park was the next craftsman to demonstrate his work. He had prepared by huntingthe woods for large pieces of bark to use for his carvings. Since woodcarving doesnt lend itself to audience participation, Tony would ask his audience for help naming his finished pieces. Our next Alberta ambassador was Mary Periard of Grouard, who worked with moose, carbou and antelope hair to demonstrate native crafts. The use of hair and quills for decoration is an art form indigenous to North AmerEan Natives. As well as showing how its done, Mary had framed pictures with different hairs used to create designs. In the heat of August Pat Gabraith Of Edmonton carved ice outside the Alberta Pavillion. She had to work fast before the ice melted in the blazing sun. Large crowds would gather and guess as she worked what the finished product would be. Once finished, the audience could cool off with a refreshing hug of a polar bear or great horned owl. In September, Deborah Morgan Martin of Camrose showed straw weaving with wheat. Deborah had the audience taking part making Christmas decorations and soon all the Pavillion guides joined in as well.

Expo closed and with itthe Alberta Pavillion. All the demonstrators were proud of having been a part of it and for being given the opportunityto perhaps inspire some of the millions of visitors to pursue a craft in the future.

ACC is grateful to Suncor Inc. Resources Group for the donation of cartoon graphics by Rob Edge.

Contemporary American Woodworkers

Daryl Reilly - Wood Artisan and Cabinetmaker

Published by Peregrine Smith, 165 pages

By Donna Duncan-Reilly

Book Review by Phylis Matousek Author Michael Stone interviewed more than 100 craftsmen, curators, gallery owners, teachers and collectors to identifythe most significant contemporary American woodworkers. After many months Of intensive research he has compiled his list - Wharton Arthur Espenet Carpenter, George Nakashima, James Krenov, Bob Stoc*sdale. Wendell Castle, Tage Frid,

Garry Knox Bennett,Sam MaldoofandJere

"The craftsmen I chose," Stone says in the preface to this beautifully and lavishly illustratedbook. •can be associated with the resurgent interest in crafts that followed the Second World War, a period that saw an explosion of new styles and methods. • *The older craftsmen are particularly importantbecause they took the risks and built a market for their work when support for the independent designer-craftsman was nearly unknown. • Stone defines woodworking in terms of a rkt intended functbn as well as the The artisans ih the book have aæepted the challerge of creating an attrætive object that also fulfills a practical need. How they balance utilityand is a source Of infiniteand variations. From George Nakashima's reverence for vood to Garry Bennett who views wood as merely a convenient medium for his exotk: designs, the craftsmen expbre every nuaunce of their craft. Contemporary AmerEan Woodworkers is a that every craftsman should have. Well writtenwih excellent photographZ documentation,itis a joy even to those who are not directb.' involved in woodworking.

"Nature builds the beauty intothe wood and I simply uncover it in a way that's both artistic and functional,"says Calgary cabinetmaker Daryl Reilly. Daryl works with customers to design custom furniturein his shop at home. Some Of his favorite projects have been multi-functionalfurnitureand says, "I enjoy building something beautifulothers can enjoy." He has designed a kids slide and playhouse, a high bed with swing set underneath, a window bench that pulls out to form a bed, and a cabinet for a 125-gallon aquarium with stained glass doors on top. His main mncern is quality —especially the qualitythat can be achieved only through handbuittpieces using mortise and tenon joints (one piece fits intoa slot in the other) and dovetails (wedge-shaped interlocking joinery). Currently Daryl is completely redesigning his kitchen and dining area. Zebrawood was chosen for a strip on the cabinets because of its unique grain patterns and oak because Ts quiet and is a symbol of strength and stability.Daryl enjoys making many of his own tools from wood like wooden clamps, mallets, and markinggauges. The bandsaw boxes made from exotic woods are fun to design and they sell well at the craft stores. Each wood has its own song as it's cut by the bandsaw and the sawdust is very aromatic as it hits the burners in the furnace. Walnut smells the best. A popular, item spæially designed and intricatelyjoined are Daryrs business card cases made from exotic woods. They easily slip into a pocket or purse and the lidfolds back to make a display stand for a desk. "I've been experimenting with building delicate items from eye-catching woods that are structurallysound," Daryl says. His favorite woods are purpleheartwhich has a natural burgundy color, zebrawood for its unusual grain configuration,paduak whZh is a vbrant orange, and Birdseye maple for its interesting circular patterns. While camping Daryl enjoys whittlingwhimszal animals.

The Alberta Craft Council has the book in its rewurce library. The book may also be ordered through the ACC at $29.95 (U.S.) per copy.

The 18' x 24' shop is stuffed with a table saw, planer, drill press and hand drills, bandsaw, router, mitresaw, chisels, clamps, wood planes, a complete set of screwdivers. storage cabinets, stacks of wood, and a huge paintingof cbuds on one wall. The shop is not mmplete withouthis two sons and a handful of neighborhoodkids busily hammering and gluing away on the unusually-shaped end cuts. "There's something about wood that chidren,• Daryl says. His ideal shop wood be 1000 square feet of clear working space with more windows than walls, in a country setting.

"Time disappears when I'm working in my shop. I find it peaceful, even with the machines roaring away. Wood has a natural soothing effect on people whether they are walking in the forest or looking at a wooden item," Daryl maintains. "The first thing people want to do when they see a wood object is touch it, so I have experimented with many different kinds and ways of finishing that come out satin smooth." The most exciting part of the whole job is putting on the first coat of finish, then the wood literallysprings to life. Stain is used sparingly and only when it will enhance the wood, otherwise only clear finishes are used. At jobs in cabinetmaking shops, Daryl has built executive-style furniture, boardroom tables, computer consoles, reception desks, file cabinets. doors, and has installed "about a million miles of baseboard". This spring Daryl is looking forward to completing his fourth year at SAIT in cabinetmaking and then will have a journeyman's ticket. So far he has won three awards at SAIT —two for Best Cabinetmaking Student in Southern Alberta and one for Best in the Class. Daryl's goals are to concentrate on custom-designed hand-built art furniture. For more information. contact Daryl Reilly at (403) 274-1671, 464

HuntleyWay NE, Cabary, Aberta T2K 4Z8.

Steeple Artworks What's in a name? Sometimes -- plenty! By Brenda Weaver Steeple Artworks, Whose church logo Often puzzles and intrigues shoppers, is an artists' co-operative with an interesting background. A small group of artisans wanted studio space, but were unable or unwilling —to pay the high rent whZh most studios demanded. They decided to search out a large space and share it in as many ways as possible. What they found was an unused church; what they did was to share the space —eventually at least —with 22 other artists: a goldsmith, potters. weavers, dyers, painters, even @stonecutterwhose blows shook the entire building —and a dragonkite maker. The kites incidentally were advertised as 40-footers but actually turned out a few inches short because the building was not quite long enough. The Steeple People began their activities in 1976. Two years later. unfortunately,rents were tripled,forcing a change. Out of the studb sharing idea was born

cooperative

The present

the

organization is an association of artists and craftspeople who sell their products on a nonprofitbasis; any gains from the store's commissions are put back into the association in the form of improved facilities. Many, if not all of the original crafts are still represented: painting, pottery, weaving. batik. high class toys and woodwork, stained glass and novelties, may all be found in abundance. Steeple Artworks is located just north of Louise Crossing at 142 10th Street Northwest in Calgary.

ALBERTA CRAFT COUNCIL and ALBERTA BALLET COMPANY ANNOUNCE

THE 2nd DOLL DRESSING COMPETITION

CALL FOR ENTRY

I feel that I did not do enough for the

In celebration of Aberta Ballet Company's fifth mapr full-length ballet, Coppelia, the Alberta Craft Council is pleased to present

the Coppelia Doll Dressing Competitionfor 1987. Doll enthusiasts. ballet enthusiasts and everyone in between are invited to in this province-wide competition.

JURYING: - Jurying willtake place on Thursday May I, 1987 at the offices of the Alberta Craft Council. -Jurying will be based on a pointsystem. All dolls will be judged on this criteria: concept, color • Design: selection, patterns, etc.

Get sewing and ready! In additionto prizes, both first prize- winning dolls will appear as part of the set in the fulllength productbn of Coppelia, in Calgary on

May 9 and I O, and in Edmonton on May 12 and 13, at the Jubilee Auditorium. CATEGORIES:

- Victorian Costume - Ethnic Costume

PRIZES: - There will be a first, semnd and third prize awarded in both categories. RULES OF ENTRY: - All participants in the mmpetition must be members of the Alberta Craft Council, individually or an affiliateof an

ACC voting member organization. - A registration fee of $5.00 must accompany the Aplication to P articipate. - A release form must be signed giving the Alberta Ballet Company and the ACC permission to display the dolls and photograph them for public relations purposes. - Insurance on the the dolls will be the responsibility of the participant untilthey reach the ACC offices and when they are returned to the owner from the ACC offices the end of the projed. In other words ACC will insure the dolls from the time they are received untilthey are returned to the owner. - All entries must be submitted in one of the two categories. - No more than three entries per person. - An explanation of the entry must accompany the entry. - Entries must be received at the Alberta Craft Council offices no laterthan April 24, 1987. - The costume of the doll must be made by the entrant.

COPPELIA APPLICATION TO PARTICIPATE Deadline: March 15, 1987

Name

Address

Ph. (res.)—— (bus.)

ACC Individual Member ACC Voting Member Organization $5.00 Entry fee enclosed Return to: Alberta Craft Council 509, 10136 - 100 Street Edmonton, Alberta

T5J OPI Phone:428-1654

Dear Artists of Alberta:

• Quality of Craftsmanship: sewing, embroidery,beading, etc. • Overall Aesthetic Appeal: do #1 and #2 combine to create an overall pleasing finished product. - All entries in the Coppelia Doll Dressing Competition will be on display during the performances of Coppelia at the Jubilee Auditorium,in Calgary and Edmonton. - If you need further information,please call the offices of the Alberta Craft Council in Edmonton at 428-1654.

community in 1986. I WOUIdlike to begin this

January 1987 to prepare for Christmas 1987. I have decided to buy a doll and dress it and

donate it to the Santa's Anonymous sponsored by CHED Radio.

I present the same challenge to you. Do you

knit, weave, embroidery, quittor do any of the needle arts? Do you work in wool or ceramics? Make a doll. Something an underpriviledged child would never receive. If you would like to join my "From these hands Project", please register by calling Patricia Perram at "T she Boutique", Edmonton - 488-0465. I would like to have the dolls in by November 15, 1987 to display for young and old to view before we send them to Santa. Patricia Perram

GOEBEL GALERIE PORCELAIN SCULPTURE AWARD

COPPELIA TRIVIA: Did you know... - that the ballet Coppelia is loosely based on E.T.A Hoffman's "The Sand-Man".... the story of Coppelius, the evil lawyer and his fantastic automatons? - that Coppelia was first presented on May 25, 1870 at the Imperial Theatre of the Paris

Canadian Sculptors, regardless of degree of experience with porcelain, are invited to compete internationally for this prestigious award. Presented by the Goebel Galerie of Roedental Germany since 1981 , the award is offered to promote esthetic and technical discoveries in porcelain.

Opera? ftwas created by choreographer Arthur Saint Leon and composer Leo Delibes. St. Leon's choreography was animated, colourful and light-hearted.He excelled at arranging solos and pas de deux.

A jury of two sculptors, two art historians and the Manager of the Goebel Galerie will select awards of $5,000 for first place and others totalling$25,000. Also, there will be a training seminar in the Goebel Porzellanfabrik in Roedental of which all expenses incurred during the training seminar will be paid by the Goebel Galerie.

Wendy's Originals

Grande Cache

The theme for the first award is: Porcelain and Colour Contemporary Figurative Sculpture

looking for quality handcrafted items on

Application forms must be postmarked by March 1st, 1987 and can be requested from:

consignment basis

Box 905, Grande Cache Alberta, TOE OYO Phone 827-3895 or 827-5797

Goebel Canada

100 Carnforth Road Toronto, Ontario

M4A2K7 (416) 752-3910 Attention:Marcel Brandstatt President

CALL FOR ENTRY

CALL FOR ENTRIES

QUOTE

WOODWORKERS

The Edmonton Needlecraft Guild is

The arts are an essential element of education, just like reading. writing, and arithmetic. A school that treats the arts as the province of a few gifted children. or views them only as recreation and entertainment, is a school that needs an infusion of soul.

The Southern Alberta Woodworkers Society has held a number of exhibitions in Calgary over the past four years.

William J. Bennett U.S. Secretary of Education Report on Elementary Education September 1986

Woodworkers residing in Aberta are invited to submit work for this show. All tools, toys, musical instruments, jewellery, furniture and sculpture are eligible, provided that wood is the featured material.

sponsoringa juriedFASHION SHOW OF WEARABLE ART April 1, 1987 at the Provincial Museum of Alberta. Proceeds from the show will help defray the costs of the exhibition of historic and Alberta-made needlework, which will be held at the Provincial Museum from June 24 to October 24, 1987. For additional information contact:

ArmandeJones 11042-160 A Street Edmonton, Alberta

- ENTRY DEADLINE -JUNE 30, 1987 For further information please write:

"GOING FOR GOLD"

catalogue.

7056D Farrell Road S.E., Calgary. Alberta. T2HOT2

SHOW DATE JANUARY 15 TO MARCH 4, 1988

THE ALBERTA POTFERS' ASSOCIATION Box 1050 Edmonton, Alberta

contact:

T5J 2M1

HenrySchlosser 7207- FarrellRd.S.E.

NORTHLANDS FARM &

Calgary T2H OT7 Phone 255-7372

RANCH SHOW

MARCH 25 - 28, 1987

John Morel 1322- Hastings Cres. S. E. Calgary T2G 4C9

"THE MARKETPLACE"

Phone 243-7672

Wanted: Information on candlemaking or candlemakers

art &craft spring sale

- Entry Fee - $15.00 per entry -Juried by slide, up to 3 slides per entry, maximum 3 entries

Our next show is scheduled to run from September 8 to October 4 1987 at the MuttartGallery in Calgary. This is to be a juried, major exhibition complete with a

Jurying willtake place midAugust. For further information and applications please

TSP 3G7 Ph. 489-3606

NATIONAL EXHIBITION "GOING FOR GOLD"

guild/ club/ association, national

or international.

Please call Irene at 483-5502

The Marketplace is a special feature area geared to the needs and desires of today's busy homernaker. Exhibits range through all areas of householdproductsand services, to fashion, health and beauty aids. This is an ideal area as the show attracts over 50,000 people. For more information,contact Marlene Benson in Calgary at #300, 999 - 8 Street S.W., Calgary, AB T2R IN7 or 244-6111.

PRODUCTIONPOTTER Start immediately, good throwing skills to work full-time or parttime. Throwing and trimming are main functions. Write Annette Greenberg, 7612 - 182 Street, Edmonton, Alberta T5T 1Y9

Has the outrageous cost of typesetting prevented you from including pamphlets and infomational material in your craft marketing

package?

SCANGRAPHICS,m Calgary Convention Centre Calgary, Alberta

Paste-up

Veloxen mars

Negatrv•e Rsembly

for rmre inforrnation,quotes, etc. and see mw we can help pu produce your perfect piece of printed cow.

Show Hours:

Friday - Saturday 10:00 am to 9:00 pm Sunday

10:00am to 6:00 pm

ART MARKET PRODUCTIONS M. Loney P.O. Box 385 Banff, Alberta TOL OCO Telephone: (403) 762-2345

LASERSETTING

Colour Separating Please contact us

May 1st,2nd and 3rd, 1987 Friday,Saturday and Sunday

Then try..

Bkwsletters,

Corporate Brochures.

Presentation mecz. Annual &sters,

Travel Broctwres. Letterheads & Business Cards. Black & White and

Four Colour or rmre primed copy.

TSJ IAS

422-6407

A NEW ALTERNATIVETO TYPESEITING

!!!

VISION

GRAPHICS

LTD

&PRINTING

2100Rlncipal Baza 10303Jasper Avenue Edmontm. Alberta TSJ 3N6 424-3434

(The Alberta Crat Magaire was Bserset and gynted by Vßon Graphics & Rinting

WORKSHOP,LECTURES AND TOURS

"ALBERTA NEEDLES" A Juried Quilt Show by Alberta Handicrafts Guild - Quitters Group May 26 to June 12,

1988 The Alberta Handicrafts Guild - Calgary Branch, Quilters Group are pleased to announce we will be hosting Quilt Canada '88 in Calgary May 26 to 30, 1988. In conjunction with this annual mnference, there will be an invitationaland juried quilt show of contemporary, traditionaland original deson quilts. The major portionof this show will be open to Alberta quilters only, with the invitationalsection reserved for workshop teachers.

The juried aspect Ofthe show means your work will bejudged on its own merit rather than against other pieces and therefore beginner quilters need not be intimidated. All quilters should be inspired at this unique opportunityto view each other's work.

Start planning now to enter. To Obtain criteria informationand entry forms, please send a SASE envelope to: Nancy Wikant Quilt Show Co-ordinator 2 Westview Dr. S.W. Calgary, Alberta T3C 2R7

St. Albert Festival of the Arts Arts & Crafts Fair June 3 - June 7, 1987 Akinsdale Arena, St. Albert, Alberta Entries are now being accepted for our 9th annual Arts & Crafts Fair. The fair is open to all professional and hobby artists throughout Western Canada Selection of eligible arts and crafts will be made on quality, design, orginality, and marketabilityof work. Sales ståf will be engaged by the mangement, however, artists are encouraged to assist. A fee structure based on inventory value has been set. Entry forms are available from: St. Albert Festival of the Arts 23 Rayborn Crescent St. Albert, Alberta T8N 3C6 (403) 459-2336

7th ANNUAL CHRISTMAS CRAFT FAIR, CRYSTAL GARDEN, VICTORIA

November 25-29, 1987. Entry Deadline: June 1st, 1987. Enquires same as for Spring Craft Fair.

CHILTON SPONSORS MACHINE EMBROIDERY COMPETITION Robbie Fanning, former Editor/PubIisherof Open Chain, has signed on with Chilton Books to develop a new "Creative Machine Arts" series of books. The first title,due out last month. is The Comp'ete ßQQk of Machine In conjunction with the publicationof the book, Chilton and "Needle & Thread" magazine are sponsoring a national machine-embroideo.'contest with a totalof $18,500 in merchandise prizes. The mntest features both a professional and a non-professional division. The entry deadline is January 30, 1987. Details are available from May Collins, Chilton Book Co.,

one Chiltonway, Radnor,PA 19089 (800/345-1214).

FUTURE STRATEGIES FUTURE INTENT

A Basic Course in Decoration

the Calgary Cerarü Seminar presented by Leisure Learning Services, hosted by the Alberta College of Art

Through joint effortsby Strathcona County Recreation & Parks Department and Plainsman Pottery Supply, a one-day workshop is being offered on Saturday, February 21, 1987 at the "Clay Hut" in Sherwood Park.

May

1987

Fee: $95.00 Will Include: Workshops, slide lectures, panel discussions, 28 exhibitionsof ceramics presented in galleries throughoutthe city, commercial exhibits, social events and much, much more!

workshop Demonstration

Date: Saturday, February 21, 1987 Time: 10:00 am to 2:00 pm Location:CIay Hut #1 Broadmoor Boulevard Sherwood Park, Alberta (by Smeltzer House Visual Arts Center) Fee:$15.00 - limited to 20 participants I st paid - I st served NO Reservations Please make cheques payable to : Jim Lomo Box

4788 Edmonton,AlbertaT6E 5G6 phone: 464-6006 for details

Keynote Speaker: Edward Lebow For Further Information Contact: Evelyn Grant

Ceramic Supervisor Leisure Learning Services Dr. Carl Safran Centre Third Floor

930-13 AvenueS.W. Calgary, AlbeFta

T2G OL4 or call (403) 229-3327 (local 436)

DENNIS EVANS Plates, A Clay CanvasJiggering Equipment for Plate Production A hands-on approach to the utilization of jiggering equipmentto enhance throwing skills. Participants will produce a plate, and explore various techniques of surface decoration to personalize their work. Limit 13

AT: Windsor Park Studio, Calgary ON: March 7 & 8, 1987 COST: $35.00

VICTOR-

Canadian Artists in Porcelain Canadian Artists in Porcelain was founded in 1985 by Pat Watrin.The club provides an opportunity for local doll artists to share their interests and exchange ideas. C.A.P. is dedicated to the promotbn of high quality reproductiondollmaking. Many of the in nationaland members have internationalcnmpetitionsand received top honors. The Canadian Artists in Porcelain have instituteda "blue ribbon"award system which guarantees excellence in quality. Dolls sold under C.A.P. are juried for quality by a panel and only those dolls which receive 90 per cent or higher are awarded a blue ribbon and certificateof authenticity. An annual doll show is held in the spring. This show gives the public an opportunityto view the work of many excellent artists. This year the show is to be held March 28 at the Carriage House Inn in Calgary, between 10:00 a.m. and 4:00 p.m. The theme of this year's show is Dolls in Fantasy and Fable. General meetings are held every third Thursday of each month.All porcelain doll artists are welcome. Membership is $10.00 per year. All prospective members are asked to contact Lynda Plaut at 243-0149 in Calgary.

The work of Victor Spinski is acclaimed for its humorous and often irreverentview of contemporary society, and its technical perfection. Participants will gain insight into the philosophy behind this work and to large-scale casting techniques utilizedin its production. Limit 30 AT: Windsor Park Studio, Calgary

ON: March 14, 1987 COST: $30.00 For furtherinformationcall Evelyn Grant at 229-3327 local 436.

Leather Creations: Using traditionalsewing or the novel method of crocheting or knitting to construct your garment, create your own stunning outfitsin leather, duffle or melton cbth.

Fee: $24.00

Time: First class remainder Length: 3 Sessions start: March 7, 19th & 26th. Instructor:L. Letourneau. - Emphasis will be on the outdoors - weather permitting, but also some portraiturewill be covered. Fee: $40.00

Time: Day: Tuesday Length: 7 weeks Start: Week of April 7 Instructor:Don Sharpe

Pine Needle Basketry: Learn to make a novel basket from pine needles. Basic techniques in stitches and coiling will be covered. Supplies provided,additional basic supply list given upon registration.

Fee: $18.00

Time: Length: 1 Session Day: Sat. Apr. Il Instructor:L. Blackwood Utilizing differentweaving techniques - design and weave your own garment. All weaving equipmentmade available by the Parkland Woolworkers and

Weavers. Fee: $30.00 Time:

Day: Monday

Length: 6 Sessions Start: February 2 Instructor: M. Smit

Spinning: Comprehensive course for beginners. Supplies provided.

Fee: $30.00 Time:

Day: Saturday Length: Two sessions Start: March 7 Instructor: M. Smit

S.!LQ.d.i.ng:A delightfulway to enhance any garment.

Fee: $20.00 Time:

Day: Monday

Large Scale Casting

(Co-sponsored with Culpepper Pottery and Red Deer College)

PROGRAMS AT THE LOG CABIN

454 King Street, Spruce Grove

ASSOCIATIONS The Alberta Craft Council has been asked to locate existing stained glass associations in Canada, the United States and abroad.

Anyone who has informationabout such associations is asked to contact the ACC office in Edmonton at 428-1654.

POTTERS The Parkland Potters Guild offers classes at the beginner and intermediatelevels in wheel throwing,handbuiding, sculpture and raku. Informationmay be obtained by calling Don Chambers at 962-3305 or Darlene Lind at 962-5047.

Length: 3 weeks start: April27 Instructor: M. Smit

KEEP A LOOK OUT FOR MORE ACTIVITIES COMING UP AT THE LOG CABIN IN THE NEAR FUTURE BOTH AT THE WEEKEND AND DURING THE EARLY EVENING ON WEEKDAYS GEARED TO BOTH THE YOUNG PERSON AND THE FAMILY.

MUITART ART GALLERY WESTERN CANADIAN International Competition and Exhibition ICONS

THE DECORATED MOCCASIN:

Sponsored by the Canadian Native Arts Foundation in co-operation with the Bata

Shoe Museum Foundation. Open to Native craftspeople in Canada and the U.S. who make Native footwear using authentic materials and traditional techniques,including decoration with quills, beads, moosehair, thread embroidery. Categories: soft sole moccasin, hard sole Native shoe, child's moccasin, special occasbn moccasin... Cash awards: up to $6,000...Deadfine: March 1987...

Western Canadian Icons is an exhibitionbeing created by

Rlchard L White,

Curator/Directorof the Muttart Art Gallery, to coincide with Calgary's 1988 Winter Olympics. Artists are invited to submit proposals for art works in any medium-that in

some significant or definitive way reflects something that is sacred to, synonymous with, or cherished by Western

For further information,contact:

Canadians.

CANADIAN NATIVE ARTS FOUNDATION 27, IndianGrove

The exhibitionwill present a unique view of Western Canada - the people, the culture, the landscape and the

Toronto, Ontario

M6R 2Y1

(416)762-2235 The Edmonton Needlecraft Guild is sponsoringa juriedFASHION SHOW OF WEARABLE ART April 1 , 1987 at the Provincial Museum of Alberta. Proceeds from the show will help defray the costs of the exhibitionof historZ and contemporary Alberta-made needlework which will be held at the Provincial Museum

June 24

man-made objects - to visitors from around the world.

Entry Requirements: I. Mustbe a resident of Alberta, British Columbia, Manitoba,Western N.W.T., Saskatchewan or the Yukon Territory. 2. Must have a consistent hibition record fora minimum

es, 11042-160A Street, Edmonton, Alberta T5P 3G7, Ph. 489-3606

of three years. 3. Must have a consistent exhibitionrecord for a maximum of ten years.

Originals: A Spring Show and Sale

Proposal Requirements:

For additbnal information,tn-ltact Armande

of Fine Crafts & Clothing from

across Canada

April 2-5, 1987, Ottawa Civic Centre, Lansdowne Park, Ottawa. Companion show to the Ottawa Christmas Craft Sale produced

by Gamble Productions Inc. Info and forms: Box 5709, StationF, Ottawa, Ont. K2C3M1 ; (613)226-1633.

WESTERN WORKS Manitoba Spring Craft Sale - April 29 to May

3, 1987. WinnipegConventionCentre. For aplications, please contact: Ron Mark, 200 62 Hargrave Street, Winnipeg, Man. R3C INI Telephone(204)942-8580

TOWN & COUNTRY HOME SHOW May 1-3, Toronto InternationalCentre, 6900 Airport Rd., Mississauga. All craft media welcome. Send description of kind of work (photos optional) and indicate whether you can dernonstrateyour craft. Deadline:

March 31. Info: Ian Russell, Town & Country Home Show, RR4, Uxbridge, Ont., LOC 1KO;

416294-8000.

I. A complete biography. 2. An artist's statement. 3. A proposal statement. 4. Six slides, fully labelled in a plastic sleeve, of current work.

CALLS FOR ENTRY Mary Bergstrom Of Camrose is inviting Craftpeoplb from Alberta to participate in a nursing home craft sale in April for three days. No commission is taken on sales and there is no charge for the space. If you are interested, please contact Mary Bergstrom at Box 270, Camrose, Alberta, TOB 3SO. The Works: Celebration of the Visual Arts.

June 26-July 5 Edmonton. Booths available. Deadline:

February 27. Info:The Works,616, 10136100 Street, Edmonton, Aberta T5J OPI (403)426-2122 Decotex - June 28-30, 1987 This large internationalinteriordecorating and home textile show is accepting applications from interested exhibitors.

Products range from decorator textiles, wall coverings, household linens to lighting fixtures, mirrors and frames. For further information,call or writeto Decotex,

European Trade and Exhibition Centre Corp., #906 - 225 West 34th Street, New York, NY 10122, (212) 563-5350

Bonaventure Design Centre The new Bonaventure Design Centre has been established to acomodate a permanent concentration of manufacturers and suppliers of design products and materials, eg. lamps, fabrics, furniture,etc. This grouping of suppliers is for the of visiting architects, interior designers, consultants, and decorators. If you are interested in showing your work at Bonaventure Design Centre and need further information,call or write to GE Fautre, Devebpment Coordinator, Bonaventure Design Centre, Place Bonaventure Inc.,

P.o. Box 1000, Montreal,Quebec, H5A IGI All materialsubmitted becomes (514)397-2233 the property of the Muttary Art Gallery. Young Contemporaries 87 will focus on the

Deadline for all proposals: March 6, 1987

Mall to: "Western Canadian Icons" MuttartArt Gallery 1221 2nd street, S.W. Calgary, Alberta T2R OW5 Phone: (403) 266-2764

work of young artists under the age of 30. whose work in a variety of media expresses their serbus professional commitment. The exhibitionwill be offered for travel to galleries in 1988. Marnie Fleming Will be

travelling across the country making studb visits to artists. Contact: Marnie Fleming, Curator of Contemporary Art, London Regional Art Gallery, 421 Rdout St. Northi London, Ont. N6A 5H4. tel. (519) 672-4580.

Approximately 600 works will be selected by the editorialstaff of FIBERARTS Magazine for inclusion in the book, which will be published in the fall of 1987. Entries must be

post-markedby February27, 1987. For further information,contact: FIBERARTS

DESIGN BOOK Ill, 50 College St. Asheville, North Carofina 28801

Olympics Crafts A craft exhibition is planned in conjunction

withthe Calgary 1988 WINTER GAMES. Organizers are welcoming ideas for possible projects from craft groups and individuals across the country'. Contact the Crafts

Committee,OCO '88, P.o. Box 1988, Station"V, Calgary, Alta. T2T5R4

1987'SGAA' INTERNATIONAL STAINED GLASS COMPETITION AND EXHIBITION June 21-25, Corning Museum of Glass, Corning, New York. in conjunction with the 1987 summer conference of the Stained Glass Associationof America. Accepted works to be published in a catalogue and the Fall 1987 issue of "Stained Glass" magazine. Open to all stained glass artists: amateurs, professionals, individuals, groups. Original demrative glass work designed and made during 1986-87, providing it has not been previously published, exhibited, or entered in any other mmpetition. Entries are in the form of 35 mm slides which become the property of SGAA. Fee: $35 per person or group, $45 foreÉn, for upto 3 slides, Deadline:March 1. Entry info: SGAA Competition Entry. Rt. 3 Box 218-0,

Edmond,0K 73034USA

THE MAKER'S EYE 8th Annual HarbourfrontCraft Fair. Includes DesÉned by Commissbn - a special section for craftspeople working on commission.

July 22-26, 1987in Toronto.ENTRIES

DUE: March I, 1987. Awards in all media: Ceramb, Glass, Jewellery, Textiles and Wood. Booth fees from $150 - $325. Info: The Maker'sEye, Harbourfront, 235 Queen's Quay West, Toronto, Ontario, M5J 2G8, 416/869-8447.

The Flberarts Deslgn book Ill The Fiberarts Design Book Ill invites you to submit photographs of the best work youVe done in the last four years.

6th ANNUAL SPRING CRAFT FAIR, CRYSTAL GARDEN,VICTORIA

This book will be a high quality,

May

internationally distributed collection of

missed the entry deadline, there is still space in most categories. For info, call 381-

today's best textilework. Whether you are working in a traditional or contemporary

style, you are encouraged to submit your

work. The book's emphasis willbe on good design and technical

Design Book Ill will encompass all techniques, including, but not limitedto: sewing. weaving, stitchery. hooking, hand

and machine knittirg, basketry, surface design, clothing, knotting, qudting,crochet, paper and felt.

Dont despair if you

5123 or write:Bente Rehm, P.o. Box 5685, StationB, VEtoria, V8R 6S4. Applicatbn forms can also be picked up at the Crystal Garden. (Please that Bente will be away approx. Jan. 15- April I

CALENDAR OF EVENTS

EDMONTON To March 1

Recapitulation, thirty-six watercolour paintings by Sveva Caetani that form a narrative story of the artist's life. Provincial Museum ofAlberta

To March 6

Another Roadside Attraction, an exhibition of four ceramic artists: Kirsten Abrahamson, Pat Matheson, Shirley Rimer, Garry Williams.

Beaver House Gallery

February 14

The First National (U.s.) Convention of Craftspeople will be held in HAWAII in April. Organized by Harvard Festival and Crafts Report, the convention will include seminars and workshops on marketingtechniques, financial planning, insurance problems, legal issues, computer and craft photography etc. Information is available

from the National Convention of Craftspeople, 111 Liberty Street, Petaluma, CA 94952U.S.A

The Florida Tropical Weavers Guild will hold their annual CONFERENCE at the Sheraton Hotel, Maitland,Florida, April 24 26. Workshops in weaving and basketry, a fashion show of, handwoven clothing, and a juried exhibit. More info from: Kathleen Lee, 738 Wildmere, Longwood, Florida. 32750.

Press de LaPIantz April - October. A series of basketry

workshopspresentedby Press de LaPlantz. Shereen LaPlantz is organizing a series of

GALBRAITH SCULPTURE Edmonton sculptor Pat Galbraith and her team members are piling up honors in ice and snow sculptures. They cleaned up recently at winter carnivals at Quebec City and Montreal.Pat's students, Larry Andreoff and Leonard Bednar, both of Edmonton, and Judy Sackman who recently moved to Calgary, took first prize in Quebec City with an ice carving of a speedskater. Edmontonians Keith and Maria Evans, and Anu Vedagiri won top honors in %ntreal withtheir carving of a pair of bison. Meanwhile, Pat and three assistants - Gerry Nason, Terry Prince and Sandy Segal - are in Syracuse, N.Y. after being commissioned to make the world's largest snow carving of a polar bear for the community's Winterfest celebration. The record-sized bear is 30 feet high, 40 feet long and 20 feet wide. Some 200 tons of snow were used. This is the largest snow sculpture Pat has ever tried to work on. "It should last untilspring," she said

SnowdlakeFantasy presents the 2nd ANNUAL POLAR PROMENADE. Visual arts displays and demonstratbns, theatre, music, educational displays, participatory events, puppet shows, bake sale, concerts, comedy, craft shows and dancing will abound. For further information,contact: June Jouan, 420-1451

March 16- April 16 6x6x6 clay/glass, a national juried craft exhibition. Beaver House Galley To April 15 Helping Ourselves, an exhibitbn of handicrafts Of coastal Newfoundland and Labrador. provincialMuseum ofAlberta CALGARY To March 15 An Alien Land: Arctic Prints Of the 19th Century. Glenbow Museum

To March 15

different workshops throughoutthe summer months. Write for more info to: Press de LaP1antz, P.o. Box 220, Bayside. CA 95524

in an interview.

"A CLOSER LOOK"

"l don't know if anybody has attempted such a massive carving before," Pat said. "The local people say they might call in the

Buddhist Images in Asia Glenbow Museum

and her assistants are being paid $5,000 for the Syracuse project. The totalcost of the project is some $25,000.

The Master Weavers. This traveling exhibition,curated by Martand Singh and Rakesh Thakore for the Government of India, celebrates the contemporary artisans Of India who still hand-bom the kind of fine fabrics once commissioned for temples and courts, The Alberta College ofArt Gallery.

U.SA

Meta] Arts Guild is pleased to host "A Cbser Look", a natbnal conference, May 2224, 1987, at the Ontario College of Art, Toronto.

A series of ledures and workshops by speakers across the country will explore what we as jewellers and metalsmiths make, and and why we make it. The opening of the Metal Arts Guild annual shpw, A Closer Look and other social events will give participantsthe opportunityto meet colleagues form Vancouver to St. Johns. In celebration of this nationalgathering a variety of exhibitionshave been organized throughoutthe city.

She said she is leaving special instructions on how to demolish the sculpture once becomes unsightly or unsafe.

Guiness Book of Records people."Galbraith

Because of her accomplishments in Edmonton, and other areas of Canada, Pat was invitedto mmpete in the international ice sculpting competition in Sapporo, Japan. "I had already made a commitmentto Syracuse," Pat said, "so I had to turndown the Sapporo invitation.-But next year is a different matter."They told me to save time for them in 1988."

For furtherinformationmntact:

Theo Jansen & David Conference Co-ordinators The Metal Arts Guild 1179A Kng Street West Suite B-11 Toronto, Ontario

M6K3C5

Arts Managementat THE BANFF CENTRE SCHOOL OF MANAGEMENT A series of courses to be held in Banff or in other cities across Canada:

March 18-20 (Montreal)Fundraising August 9 - 29 (Banff) Management Devebpment for Arts Administrators. Additionalcourses willbe added throughout the year. Participants in all programs are invited to apply to the Banff Centre Scholarship Fund. For furtherinformation contact Barbara Fawn, Program Coordinator,The Banff Centre School of Management, Box 1020, Banff, Alberta TOLOCO, (403) 762-6121.

SURFACE DESIGN NATIONALCONFERENCE Fabric printers,stitchers, etc. who are interested in attendingthe next Surface Design National Conference in Kansas City, Missouri, March 19-22, 1987 . titled:

INFORMATION+ EXECUTION + PRESENTATION - COLLABORATION

should get on the mailing list by writingJason Pollen, Chairman, Kansas City ARt Institute, 4415 Warwick Blvd., Kansas City, Missouri 64111.

ANKARET

DEAN A BASKETRY

WEAVING

TOUR

AND

Discover the mysteries of rugs and corn dollies, visit willow farms and rush beds, learn basketry from an expert or two, see weaving and spinning on their homeground all in rural England in the springtime of 1987. A limitednumber for this tour so express your interest soon! March 26 - April 12, 1987 Sparks, Slater and Associates Ltd. 1 Gbucester Street, #102. Toronto, Ontario M4Y IL8 (416) 921-3138.

British Pop Art from the University of Lethbridge Art Collections. G'nbow Museum

To March 1987

February 12 - March Il

February 20 - April 15 Drawing Out the Form: Sculpture Touched by Drawing The exhibitionexplores the work of four Canadian artists whose multi-media sculptures are strongly infused with a drawing sensibility. The works of Watter May [Calgary], Lynda Gammon [Victoria], Edward Poitras [Regina] and Louise Noguchi [Toronto]are characterized by an intriguing use of materials such as wire, sand, plaster, wood, blood, polyurethanefoam, masking tape, paint, and found, domestic or industrial objects [discarded junk that was once functional). The NickelArts Museum

February 20 - April 15 Ancient Cunures of Peru CeramZs, the classical artistic and cutturalmanifestation of the early cultures of Peru, are the central theme of this exhibition,which consists of 120 archaelological objects trom the Museum of the Central Bank of Peru, Lima. The NickelArt Museum

February 20 - April 15 20th Century British Drawings This representativecollection of British drawings from 1900 to 1960 has some remarkable strengths in its inclusion of works by Graham Sutherland [portrait studies of Winston Churchill. Somerset Maugham and Helena Rubinstein], William Orpen and Henry Moore.

The BeaverbrookArt Gallery.

RED DEER To February 28

Seasons of Celebration: Ritual in Eastern Christian Culture. Seasons is an ethnographic exhibitionfocusing on the cycle Of folk and canonical rituals and their importance in Eastern Christian Culture. Red Deer & DistrictMuseum

LETHBRIDGE

OTHER PROVINCES

Art Films on Tuesdays

QUEBEC

The Southern Alberta Art Gallery is pleased to present a selection of films in conjunction withthe exhibitionschedule. Screenings are at noon (12:05 p.m.), so bring your lunch and enpy an art film with us.

To March 1

February 24

IllustrationArt - Parks Canada Artwork. MarjorieWood Gallery Keny Wood Nature Centre.

SCULPTURE TODAY A QUIET WAVE,

sculptor Cecil Richards of Lakefield, Ontario

March 3

To March 1

FREEMAN IN TIME, photographerFreeman Patterson PICTURES FROM THE 1930s Southern Alberta Art Gallery

Chinese Export Porcelain This exhibitfollows the fascinating story of Chinese porcelain from its manufadure in China through its use in the homes of Canadian pioneers to its influence on contemporary porcelain design. Red Deer & Distrht Museum

February 9 -March 27 Biennale de Tapisserie de Montreal1986 Centre d'exposit;on de MontLaurier,Mont-Laurier

February 13 - March 14 Melinda Mayhall, baskets, MZheI Viala, ceramics Centre des Arts Visuels,

Montreal

SASKATCHEWAN

March 8 Celine Baril: La Bete Noire Quebec Documentary Photography: 1950 to present Kaneshige Michiyaki:Four Bizen Pieces

SouthernAlbertaArtGalley

February 26 Sandra Flood: 'Surfacing'. Fabric works dealing with surfaces, layers, and dimensions. Saskatchewan Craft Gallery,

Saskatoon

GRANTS The Jean A. Chalmers Fund for the Crafts March 1 and September I are the deadlines for applications, for support, for special projects, research, and special workshops for crafts in Canada. For more information, contact: Francine Perinet, 99 Metcalfe Street, P.o. Box 1047, Ottawa, Ontario KIP

5V8 (613)598-4348.

February 28 - March 26

Saskatchewan Earth Saskatchewan Craft Gallery, TOURESCORT; Mrs. Pirkko Karvonen,

Sasktoon

373-22560 wye Rd.,

WEAV ING TO U R.

Sherwoodpark. Alberta T8A 4T6

467-7167 or 467-4254

FINLAND AND C ENTRALAS

BRITISH COLUMBIA

The Fertile Hand: Ceremonial Art of New Guinea Cartwr&htGallery, Vancouver

HELSINKI-MONTREALJune 07, 1987

TOTAL TOUR COST: CAD $2900

To February 28

- $3200

Between The Lines: Chilean Arpilleras. Arpilleras, traditionalChilean applique/wallhangings, have

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To February 28

ABROAD

AWARDS CANCELLED

To February 22

The Canadian Crafts Council has suspended the Professional Design Development Awards untilsuch time as corporate support is developed.

New Vistas: American Art Pottery

1880-1930

BellevueArtMuseum, Bellevue, Washington

To March 22

Craft Today: Poetry of the Physical AmerEan Craft works in all media created since 1980. Inaugural exhibitbn Ofnew museum facilities. Amerean Craft Museum, New York

The Professional Services Program will be suspended after March 31, 1987.

TAXES FOR ARTISTS Revenue Canada has published an informationbulletin IT-504, that outlines the interpretationof the Income Tax Act as it affects artists. The bulletin is available from local income tax offices.

Clay North. Touring show of work by Northern Ontario production potters Rails' End Gallery, Haliburton

To March 1 Kai Chan: New Work

The CraftGallery,Toronto

March 4 Kayo O'Young: Ten Years A retrospective exhibitionof work by Ontario ceramist Kayo O'Young opens March 4 6-8 p.m.

The CraftGallery,Ontario Crafts Council,Toronto

February 19 - March 22

ALBERTA CRAFT MAGAZINE is the officia publication of the Alberta Craft Council. We accept advertising from members and nonmembers.

ADVERTISING RATES: 1 3/4"x21/2" $25.00

41/2"x21/2" $60.00 $80.00 $125.00

INDUSMIN GLASS AWARD Institutedin 1985 in celebration of the 50th anniversary of Indusmin Limited, this award Of $2,000 will go to a glass artist wishing to pursue post-graduate studies. The award, administered by the Ontario Crafts Council on behalf of Indusmin, is based on excellence of work and the potentialfor further development.

Ellglblllty: The applicant must be either a Canadian citizen or landed immigrant working with 'ho? , 'cod', or stained glass.

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politicalaction. This exhibition of seventy arpilleras is guestcurated by the Saltspring Island group, The Vote of Women. Women in Focus Arts and Media Centre, Vancouver

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This $20,000.00 award for excellence in craft will be mntinued for another decade. Deadline: Wednesday, April I

To February 22

DEPARTURE: MONTREAL-HELSINKI Hay 18, 1987 RETURN:

Bronfman Award for Excellence In the Crafts

Clay and Cloth. Combined exhbition by the pottersof the Oakville Art Society and members of the Oakville Stitchery Guild. Centennial Gallery, Oakville

Appllcatlon requirements: (a) Current

biography. (b) Statement of plans for further education with an estimate of costs involved. (c) 12 slides showing at least 8 pieces of recentynrk, with accompanying slide description recording dimensions, techniques, materials, and completion dates. (d) Letter Of reference from an individual able to endorse the applicant's educational plans. (e) Permissbn for the Ontario Crafts Council to retain a set of slides for promotional and archival purposes. These slides will be shared With Indusmin and will be required only of the recipient. Next deadllne: April 21, 1987 For additbnal informationcontact Sandra Dunn in the OCC Resources Centre, 416/9773551. Please note that only one application is required to be considered for all scholarships and awards Withthe deadline of April 21, 1987. Therefore. make your application as complete as possible.

Dlplome d'Honneur is an annual award honouringthose who have made an exceptional contributionto the encouragement of the Arts in Canada. Deadline: Monday,September15, 1987

SAVE

C KUA

sun2

1227 - 107

T5MIYO

Dear Friend:

456-9265

SB•ia

As you may have heard or read recently, the Government of Alberta is considering taking CKUA Radio off the air.

Cdd

Diroc%x,Sc*ml 01Fit* Arb Uniorsiy of Lothbrd90

ACC AGM

(MMT±Wof the Ord. d Canada)

May 9, 1987

Anno

Canmore, Alberta

We believe that for the past sixty years (and we hope for the next sixty) CKUA has provided an uniquely valuable alternative service to Albertans.We hope that you agree. This is urgent.

A nominationform forthe May election of officers appears in this issue. Candidates are requested to returnthe completed forms and a brief statement directed to the following questions: 1. What special attributes, interests, areas of expertise and experience will you bring to the position of Board Member? 2. What is ACC'S purpose? Its value? How do you see it's future in terms of expansion and diversification? 3. What are your priorities in terms of ACC's activities and

services? (Conferences,

Newsletter, Exhibitions, Slide Registry Programs, Resource Centre, Corporate Gift Program, Membership, Marketing) The nominee's statements of intentwill be published in the March/April 1987 Alberta Craft Magazine along with mail ballotand proxy forms, for those members unable to attendthe Annual General Meeting where the elections actually take place. The registration forms for the AGM will also be published in the March/April issue.

Candidates for the Board need not represent any particulargroup in the crafts, indeed they don't even have to be

RedDe« Conqe hbn

craftspeople, but there are attributes that

clearly contributeto good directorship. Directing the Council is a team process requiring people who are supportive of group decision making. It is a serious responsibilityto administrate a sizeable budget well and to plan wisely for the future. Doing any job well is often dependent on making that job a prority, as it is with ACC Board positions. The business of the Council needs people who are prepared to find the time to act on plans on schedule to stay abreast of craft issues.

Grano Prairie

later than March 31, 1987.

TYEAJbertaCraft Council isdedicatedto tiequalitjesofexcellence, diversity aryl integriY. We celebratetir creativespiritand enerw which sustainsand enriches

CKUA must continue to exist. Please do it

Wry Shodor

Cavy

Thank you.

Jon myte Bang

Ed Kilpatrick Chairman

THE COMMITTEE TO SAVE CKUA

Cawry

With funding in hand, thanks to Western Canada Lotteries, Alberta Division; a functional office firmly in place, an established plan and seasoned Directors, the Council is off to a very good start for fiscal year 86-87. At this seminal time for the ACC, the successful candidates will find serving on the Board to be an interesting and worthwhileexperience. The deadline for nomination and statement of intent is to be mailed to ACC offZes no

Please, write to your MLA, to the Premier, and to the cabinet minister responsible for CKUA, the Hon. Les Young (all in care of the Legislature Building, Edmonton, Alberta, T5K2B6) to tell them that

Mann

NOMINATION FORM CONDUCT OF ELECTIONS

Alberta Craft Council ByLaw 4.04 Directors shall be nominated by any three (3) members qualified under

section 3.03 (regular organizations) and shall be elected by all members entitledto vote. The Directors so elected shall hold office untilthe second following annual meeting of the members.

We (The

our sociey and foms the root of cultural richness through craft traditiorÜ.

The Alberü Craft Council is an umbrellaorganizatjonof all Craft

Associabons in this Province, establisrpd since 1979. Bs well as being a collective wice for profssicnal and arnateur craftspeople, the Alberta Craft Council offers its' members the folbwing seMces:

'AJberta Craft' Magazine

Craft Marketing Prograrns

Afiliatjon with CanadianCrafß Council

(nominee's complete address including postal code)

MEMBERSHIP APPLICATION

POSTAL CODE

Renewal (signature Of nominee)

Annual April 1/87

Association, Regular Voting Association, Non-Voting Commercial Institutional ALBERTA CRAFT COUNCIL #50910136 - TOOStreet EDMONTON, Alba-ta T5J OPI hone: (403) 42&1654

for the position of Director of the Alberta Craft Council, for a two year term commencing May 9, 1987

hereby agree to stand for election to the Alberta Craft Council Board Of Directors and to serve if elected.

ACC will be going to an annual billing effectiveApril I, 1987.

Individual Member Fulltime Student / Libraries

(telephone number)

(signatures of three indivdual nominatorsOR signature of officer of nominating regular organzation)

BUSINESS

CRAFT MEDLA

O New Membership

hereby nominate(s) of

Education and Professional Development • Portfolio Registry Resource Library Corporation Gft Program

TELEH-IONE:HOME

names of three individual members OR one regular organization)

30.00 18.00 72.00 48.00 48.00

LOTTERIES

The nominationform must be received by the Alberta Craft Council at:

ALBERTA CRAFT COUNCIL No. 509, 10136-100 street Edmonton, Alberta

T5JOP1

DEADLINE FOR RECEIPT OF NOMINATIONS IS: 5 p.m., Tuesday, March 31, 1987.

A curriculum vitae and statement of intentby the nominee must accompany this form.