ALBERTA CULTURE
PUBLISHED QUARTERLY BY THE
May 1, 2004
Making Music Handmade Musicalilnstruments f om Alberta
CRAFT LBERTA CRAFT COUNCIL
SPRING 2004 ISSUE
CREDITS ALBERTA CRAFT MAGA
Greetings!
A&rta Craft
The long-awaited lowerfloor renovations at the Alberta Craft Gallery are complete.The additional 2200 squarefeet of gallery space will add significantly to the breadth and variety of ACC activities.
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SubmissionDeadline the Summer2004 Issue May25.2W4
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Director. Tm Mcf-anext 228 Nanty St Hdaire_ ext i34
MemberServices JoanneHnel. ext 221
Craft ShopCoordinator. Ah Flenrg ext 232
Cra ft Shop Sta ff El a i neEmers on.ext 232 Ma ga zi ne& Web Si te: Jeff Col l i ns ext. 225
CraftCanci/ a not-for-nfirorganizathn to A&aa craftand the craftindustry Of Directors:
Cha i r. Vtce Cha i r.
Secretarynreasurer:
Si rnonWr@t.Ca l ga n
Edmonton
Shona vacant
Directcrs Jube Mdma l d. Edmonton Ja mes La •.oQE&ronton
Déta temers-Bryan. Eåmntet
Stratton. Calm
Hea therForbes
Tata &åen. Caban Carolyn Patterson. Cavy Shirley Rimer, Red Deer
pra i ri e
Smul ders
Demolitionand construction for the newLowerGallery.
Photow*y:
Magazine Ed•tw.
Dzign:
Mario PietramaEa.Edmont«y
Jeff Col l i ns
Lime Design Inc..
to the
For infumationon
Craft Council
011:
(7M) 488-6611
Toll Free in
or
Nberu 1800-00 CRAFT (l -800-162-7238)
Sunday, May 16is the date for "'HighTea with a IWist".The twist part is stilla secret.
ALBERTACRAFT MAGAZINE • SPRING 2004
Of
throt* Satwday from
emergingfurnituredesigner/makershavejust
Tom McFa11
Craft
Office&A&rta Craft Gallery:
Overlappingthe JaneKidd show is an exhibition of work from the new Advanced Woodworking and FurnitureDesignProgramat NAIT.A dozen
So, with new galleryspace featuringstunning tapestries, innovative furniture, a boozy tea party, and a sale of rare pottery. I'm a pretty happy guy!
a
Craft
Tel : (780) 488-6611 OR I-D-DOCRAFT
The inauguralexhibitionin the Lower Galleryis "Handwork",a seriesof 12tapestriesby one of Alberta'sand Canada'sleadingfibreartists.Jane Kidd's work, previouslyseen at Stride Galleryin Calgary,blends imagesderived fromdrawings of the human hand and elementsfrom traditional or historic textiles.
Thursday, June 17,please join Honourable Gene Zwozdesky, Minister of Community Ck•velopment,as he helps auctionthe Jean and Henry Ward collectionof vintage pottery'.
bur
86-106th Street E&nonton.AB Ca na daT5J 184
Foundation and $10,000from ACCevents, we now have a lowergallerythat can be used for travelling exhibitions, special events, fundraising parties and other ventures.
Saturday, June 4th is the Annual General Meeting, held this year in the new LowerGallery.
re fie
letters to
to erst
LotteriesfundedCommunityInitiatives Program,$10,000fromthe CliffordE. Lee
completed an intensive one year course.Their work is excitingand accomplished.Mostof these people have plans for some sort of professional furniture practice,so the Alberta Craft Council is pleasedto be assistingboth their programand their new careers by hosting and promoting this exhibition.
cha rgi ng
t*ßine-ss re-tat;onsother
welcome
This new area, which positions the ACCas the provincialcraftcouncilwith the largestpublic facility,has been part of our planssincethe move to downtown Edmonton in 2000.The space was part of the existinglease,but to drag it out of its dark and grimystate was the financial responsibilityOfthe Council.It took 2 years longerthat expectedto fullyraise the renovation budget.With $20,000from the Alberta
effort
CraftMagazine
Fax (780) 488-8855 E, Mail:
a accoa&rturaft.ab
ALBERTA CRAFT About the Cover Celtic Harp by John Dorman
(Leduc)for Keri-Lyn Zwicker (Edmonton)
Making Music
€öönton
Shop Talk AZINE
Shop Talk The numbers and facts...
Al
Sinceour inception,fourteen years ago, the Craft GalleryShop continuesto be a great success. My,how we have grown over the years! In a time where so many retailgalleriesand shops are forcedto shut their doors, cut downon staffing,or simplyrun in the red zone, we continue to expand.Weare renovatingour basement to create more flexible exhibitionspace,whichmeanswe now have the opportunity to expand the ACC Shop-
we have on displayin eachmedium as well as the amount of memour saleswouldleveloffat some bers working in each medium. We point(althoughwe werehoping have more clay members; therefore,we have more clay artists disit would be later as opposed to playing their work in the shop, likely due this is most sooner)but whichresultsin highersalesin to limitationssuch as display spaceand staffingnot becauseof clay. While this is b-uefor clay, it is not stereotypicalfor all mediums. a poor economy. 24.7% ofourentiremembership This is not to say we have not work in clay,28.8%of consignors struggled over the years.After in the Shop work in clay and clay ten years in business, the Craft salesmakeup about 1/3 Ofour GalleryShopbecameself-sustain- annual sales.Interestinglyenough, ing during the 2000/2001fiscal our membership consistsof 11.3% year (April 1, 2000—March 31, glass artists and 12.4%of our con2001)and has continued to be so signorswork in glassbut a quarter for the past four years.This of our annual salescomefrom means that for the first ten years, glass. the shop was supported through Because of You other sources.Since the Youhaveheardthe saying"You 1999/2000fiscalyear,our sales have increased by $64,000or 44%. are whatyou eat." Perhapsour MuchOfthis growthcanbe continuedsuccesshas moreto do directlyattributed to moving to with the factthat we havesucha our larger, more visible location strongmembershipand an everin downtown Edmonton. increasinggroup Ofadamant level]ed off since then, we are still holding strong. We predicted that
Chart and Graphs For the 2003/2004fiscalyear (up to January 31,2004)we have had 158consignorsin the Shop and Over the last few years, many have sold the work from another craftgalleriesand craftartists 20 craft artiststhrough exhibihave experienceda declinein tions. The chart below is a Comtheir grossannual sales.Wehear parisonof ouryearlysalesby aboutgalleryclosuresregularly. medium for the last four years. Tourismtooka hit in 2003with While salesfor each medium SARS,MadCowdiseaseand the havebeenrelativelyconstantover strength of the Canadiandollar. the years,our largestincreaseis Sincewe area destinationand are in glasssales,which have not dependanton tourism,we increased by 40%since 2000.The have not been adversely affected differencein wood salesis due to by its loss.Our saleshave over $20,000in furniture sales remained strong over the past from one exhibitionin 2001. three years. We encountered a It has been my assumption that huge increasein salesduring the first two years in our new location. the percent of sales for each medium reflectsthe amount of work Although things seem to have snooo
supporters Offine craft, than
trends in the economy.What we are experiencinghere may not be indicativeof whatis happening in the craft scenein general.I realize that we are unique since we are oneof nine provincialarts
2000/01
dedicated exclusively to fine craft. In truth, we are here becauseof you. Weall make up
the AlbertaCraftCounciland we areall dedicatedto promoting the craft industry in Alberta. There is a market for locally made,handcraftedworkand where better to find it than your AlbertaCraft CouncilShop? —Ali Fleming
2001/02
2002/03
hbre.
Jeweltery wood
SIO.cm Meta'
Metal Mixed
26% 19% 16% 13% 12%
5% 6%
27% 20%
13% 17%
5% 6%
24% 13% 12% 9%
6% 6%
A LER
aking Music
Apri t —May 1
e Kidd (LowerGallery)
May 8th —July 7th
ew Immigrants — elebration our Ethnic
iversity Through Craft
July to —September25
October 2 —November 27
mage Serves Technique
New Discoverieswith Hot Glass and Metal by Martha Henry along with: Woman's Place"
by textiie artist Sånna Kaiser
April 10— May 16 Artists Reception:
Saturday,April 17 from 2 - 4 p.m.
ne Legs, Great Chests and ot Seats
New works by the first Graduating Class of NAIT's new Advanced Woodworking and Furniture
May 22 - July 7
Reception with the students and instructors: Thursday evening
May 27 beginning 6:30 pm.
cus on Fibre
July 10 —August 14
y Pedersen & Gordon Galenza
August 21 —September 25
histen Barr & Enziep Kufeld
October 2 —November 6
Other notable dates to keep in mind;
April 1. 2003 Jan 31, 2004
Clay Glass
MAIN
Design Program
onlypublicgalleryand shop
Sales Percentagesby Medium
Sales by Medium
2004 ACC Exhibitions
29% 26% 11%
13% 4% 6%
SPRING
High Tea.- May 16th AGM June 5th
Ward Co ection Auction June 17th LTh Visua! Arts June 25th —July 7th
• ALBERTA CRAFT MAGA.'INE
o
moulds who wishes to explore the liberation and those individualssuch as ceramic Once again Red Deer Collegewill artistsand directnessthat workingwithpaperplasterwill artistsor furniture makers who might wish to be hosting the very popular Series incorporate cast metal objectsinto their projects. provide. program with an exciting selection Introductionto ChamplevéEnamelling— Simon Wroot —Calgary weekThree,July 19- 23 of art and craft workshops with Craft Business Training —WeekThree,July 19 —23 Thisintroductorycourseis designedforfirst time This courseis a comprehensivetraining course amazing instructors available for participantswishingto try their hand at jewellery developed by the Alberta Craft Council that making and will focuson creatingChamplevé the summer. Whether you are a explores the business issues involved in starting, enamelledjewelleryemployingphoto-etched running, and maintaining a viableand profitable beginner or a professional you copper.Anything that can be photocopiedcan be craft production business. The course modules etched and enamelled. A range of basic enamelling will cover going into business, product developwill find something of interest. You skills will be introduced as well as forming and ment,production/studio management,marketmetal texturing, and silver fabricationtechniques, can take your first steps into the ing, recordkeeping,financialplanning,and electroplating. developingyour businessplan. creative process or you can learn Haslam — Calgary Doug a new techniquefrom a master Crys Harse —Calgary
craftsman at Series 2004. The following Alberta Craft Council members will be teaching workshops and passing on their skills. Jim Etzkorn —Calgary
From Handle to Spout —Week One, July 5 - 9
This is a weekwhere students willexploreand
develop functional forms. In the making of mugs,
jugs, jars,vases,bowls,casserolesand teapotsa
unifiedexpressionof style willbe achieved.This
course offers the opportunity to improvetech-
njque, to make large work, and observe different methods Ofaltering vessels.
Linda Chow —Calgary
Introductory Jewellery —Week One, July 5 —9th
Students will learn the basic skills of jewellery
makingand desigrvStudentswilllearnto make their own rings, brooches,pendants and more. Jewellerypieceswillbe made out of sterling
silver, brass and copper. Introduction to Gem Setting —WeekTWO,July 12
—16. This course provides an opportunity to learn
and practicegem setting. Linda willcoverthe
basics of traditional stone setting such as prong,
tube, bezel,bead setting, pave setting and gypsy setting, Students will learnvaluableskillsin layout, burring, fitting, tightening of stones and
Introduction to Woodworking—
Weekone, July 5-9 This entry-levelcourse is a step-by-stepintroduction to the basictoolsand techniquesused in working with wood. Students willcompletea series of hands on exercises and simple projects
using powerand hand tools with an emphisis
placed on their safe and proper use. The creative
applicationof techniques,learnedduringthe classwillbe encouraged.
ketry techniquessuch as elementaryplaitingand
Come and make a beautiful patchworkcopper bowlor sculpture.Usingsmallpiecesofmetal
Ralph Reichenbach —Edmonton
can use repeatingshapes, to build your piece,
design, function,joinery,and finishes.Students
of their own design. Previous woodworking experience is essential. Introduction
to Marquetry —Week TivO, July 12 —16
This courseprovidesthe opportunity to learnand
expandbasicwoodworkingskillswhilebuilding a servingtray. This projectwillinclude a small marquetry component. Marquetryis a dynamic formof woodworkingutilizingvariousspeciesof wood veneers. Woodworkis a craft where skills
are developedwith time and practice. Our focus of learningwillbe on the journey through the project.Someexperiencewith power tools is required.
In this workshopthe participantwilllearn 'low
2
vessels in a choice of sizes and shapes. Basic bas-
willhave an opportunityto explorea varietyof approacheswhileconstructingseveralboxes
Boxes, Little Boxes —Week Three, July 19 —23
Paul Leathers —Red Deer
course willbe Ofspecialinterest to medallic
to prepare and work with several different metals, such as copper,brass and aluminum, to create
An introduction of making small wooden boxes, this sessionwill cover basic conceptsincluding
classand then enhanced with gems.
Small Scale Bronze Casting —WeekOne, July 5 This course is Oriented towards the beginner, as well as the more advanced student, who is interested in exploring foundry processesthat have been adapted for the home-based studio. The
Using simplebasketry techniques,you will learn
twiningwillbe adaptedand combinedwithmetalsmithingskills,includingannealing,texturing and riveting,to produce traditionalor unique sculpturalforms. Patchwork CopperBowls:Builtfrom Bits and
Trudy Golley —Red Deer UnconventionalClay: Formand Surface—
much more, Pieces of jewellery will be made in
WovenMetal Baskets- weekFour,July 26- 30
Learn to transform the elementary basket form into a magical vessel by weaving with metal.
Week Three,July 19 - 23
tech' methods of how to make and use cellulose reinforced clay known as paperclay. Participants
willalsolearnthe techniqueof makingplaster pressmouldsusinga plasterand pulp mixture that Trudy calls'Paper-plaster'. This method is for
anyone interested in press moulds and casting
I ALBERTA CRAFT MAGAZINE • SPRING 2004
Pieces —WeekFive, July 28 —August 1
learn to fashion a unique vessel or small sculpture. The pieces can be randomly shaped or you
much like a quilter designs a quilt. The copper
can be textured,patinated,piercedor polished,or you can add different metals such as brass or alu-
minumadding varietyand interestto your
design. The coursewillcovermetal-smithing techniquessuch as; forming, piercing,cutting,
riveting,patinationand design.
ot Glass is also back at Red Deer College this May - September 2004 Alberta Craft Council members who will be
teachingclassesinclude:
Todd Safronovich —Edmonton Gather, Block and Blow —May 3 —7
After 5 days of this introductorycourseyou will WOWyour friendsand familywithyour work, confidenceand knowledgeof glass blowing,This is the perfectcourse for someone desiring to learm aboutthe glassblowingprocesswho has very Llittle,orno experiencen
o
Darren Petersen —Red Deer
Intermediate Fusing - May 10—14
methods and techniquesused routinelyin mar-
Hot Colour - June 7 —11
more advanced techniques.As time allowswe will exploredesigning with ParadisePaints, metal foilsand sandblasting.Wewillalso experiment
pictures,using a method that providesgreat accuracy and flexibility.
Colourtheory is a little differentfor glassblowers than it is for painters.In additionto the basics,we
will also have to deal with the unique working characteristics of each glass colour. This course
willdig deep into the bag of tricksto explorehot glasscolourapplications.Overlays,powder,cane
and murrini,goldand silverleaf,layeringcolour and pattern are among the techniquesthat willbe
sampled. Two years of glass blowing experience
is required.
And Introductory Hot Glass —July 19 —23 Experience the beauty and intensity of molten
glass.Basichot glass techniqueswillbe introduced to you with ample studio time to practice. Tyler Rock —Black Diamond Anatomy of a Vessel—July 26 —30
The vesselis so ingrained in history that its cultural significanceseems tied to the development of civilizationitself.The creativepotential of the vesselform is timelessand seeminglyinex-
haustible. There will be lots of hands on hotshop time and aesthetic discussions to allow students
to developtheir own vessels.This is an internediate coursewith previousglassblowingexperi-
encerequired.
Jeff Holmwood —Edmonton
) Advanced Glassblowing for Beginners — August 2 —6 Demonstrations in this class will include: vessels,
solidsculpture,moldblowing,murrinicane making, and whatever else can fit into 5 days.
Mark Gibeau —Strathmore
A Month In The Studio —August 16 —September10
This is designed to providestudents with an intensive studio-basedlearningexperience. Limited to 8 students the workshopwillfocus on teaching the practical skills. Beginners are wel-
come and more experiencedglassblowerswillbe encouraged to refinetheir skills.Classeswillrun
Mondayto Fridaywithsupervisedstudiotime availableon Saturdays.Toolsand glass are provided but you are encouraged to bring your own if you have them.
James Lavoie —Edmonton
'ntroductory Glass Fusing —May 3 —7
An in-depth explorationOfbasicfusing techniques with small projectsand hands on experi-
mentation.Subjectscoveredwill includecutting, firingschedules,volumecontrol,compatibility, annealing,slumping,decoratingtechniques,and
This week will present an overview of select,
with"workingdeep" and relatedtechniquessuch as kilncarvingand patternbars.
Fran Davis —Edmonton
Beadmaking Basics —May 17 —21
Learn the basicsof making glass beads:from safety, toolsand equipment to techniqueson different
beads. In this classyou willmake basicshapes, pullingand usingstringers,dots and trails, twisties,filigrana,using frit, etching, silverfoil and more.
quetry, but will be devoted chiefly to working on
Jim Etzkorn —Calgary
Earthbound?An Introductionto the Wheel Come relax,enjoyand freeyourselffromevery day routine.Througha seriesof simpleexercises you willlearnto createand composeform on the potter's wheel. During this week historic, technical and aesthetic concerns will be discussed. Teaching is approached through demonstrations,
one on one instructionand the visualaid of slides. Dawn Detarando —Red Deer The Decorative Tile
Susan Burwash —Edmonton Getting Centered: Beginning Bead-Making June 7 —11
During this course students will learn the basics
of making lampworkedglass beads that are centred and well constructed using the heat of the
This classwilloffer an intensiveactiofipacked workshop concentrating on the decorative tile.
We'lltake a lookat historicand contemporary tiles,their aestheticvaluesand their significance
in our environment.Our focuswillbe on Some
flame and gravity.Studio safety,ergonomicsand set up willbe discussed.Students willworkwith
basic techniques to achieve ideas and goals
torchto make round, cylindrical,tab-shapedand other beads.A freeoptionaleveningworkshopwill providepointerson making beads into jewellery.
niquesand gooduse of studiotimeyou willbe ableto produce an excitingcollectionof brocade tile,press tile,flat interconnectingtile and a small tile mural.
through the use of drawing, carving,modeling
German and Italian glass and an oxygen-propane
and the making of plaster molds. With these tech-
Series will be returning for a week to MedicineHat Collegeand Medalta InternationalArtist in ResidenceStudio at MedicineHat July 19- 23.
David Kemp —Spruce Grove
Seriesis very pleasedto partner with Medicine Hat College and looks forward to a second successfulweek in the south of the province.
To receivea MedicineHat brochurepleasecall Dyane Lee at 342-3516.
Carvinga WalkingStick
Using diamond willow,easy to carveand beautiful when finished,you willcarvea wood spiritinto a walkingstick. Hand carved,the walkingsticksare as unique as each piece of willow. An initial practice piece will allow you to experiment before ing your own unique handle. The cane will be sanded, stained and varnished, time permitting.
ACC members teaching Series at Medicine Hat
Susan Burwash —Edmonton
Garry Newton —Medicine Hat
During this course students will learn the basics of making lampworkedglass beads that are Centred and wellconstructed using the heat of the
Collegeinclude:
An Introduction to Marquetry An introduction to the craft of marquetry, the cre-
GettingCentered:BeginningBead-Making
flameand gravity.Studiosafety,ergonomicsand
ation of designs and images using wood veneers.
set up will be discussed. Students will work with
quetry panelsbased on their own drawings.The
torchto make round,cylindrical,tab-shapedand other beads.A freeoptionalevening workshop will providepointerson makingbeads intojewellery.
Students will work up at least two 9" x 12" mar-
work will involve some hand-cutting, using Xacto
bladesand perhaps fretsaws,but most of the physicalpreparationwillbe done with a scrollsaw.Marquetryis a splendid medium for anyone
drawn to the beauty Ofwood, and despite involving a number of progressive stages is a straight-
forwardand quite simpleway of producinga picture. The course willtouch brieflyon the various
German and Italianglass and an oxygen-propane
Series offers many more courses. For complete
listingsand a brochurewith all the details call 1-888-886-2787 or visit http://extension.rdc.ab.calvisuaI_arB/
glass kiln types.
SPRING 2004 • ALBERTA CRAFT MAGAZINE
3
The Discovery Gallery is proud to present,side by side, the works of Martha Henry and Sanna Kaiser.
Image Serves Technique
New Discoveries with Hot Glass and Metal by Martha Henry April 10 —May 15
Artist reception Saturday April 17, 2 - 4 p.m.
Martha Henry has establisheda reputation as one of Canada's leading glass artists. Her distinctive works have been acquired for Culinary TeamCanada, PrincessDiana, the RollingStones and are in numerouscollectionsaroundthe world. In her unsettled quest for expressionshe continuesto refineher craft and, at times,reinventherself. Martha's new works are an extensionof her ongoingexperiments with applying metals, such as copper, silver and gold to blown vessels, at both hot and cold stages of the glass process. There are essentially four different configurations - applying metal leaf to hot glass before or after blowing and forming the Object;or at the cold glass stage, electroplating other metals to that metal leaf, adding resists before or between electroplating, and applying gold leaf. Various and multiple combinations allow the layering of precious metals and images including drawings and words. Martha explains, "Alot of the imagery has to do with the techniques. It is really the techniques that I am trying to explore.It is not so much the imagery,but what the imagery allows... experimenting...with ways of putting the surfaceon glass. It is the techniquesthat I am interestedin." The results are unique and fascinating. Youare invited to meet Marthaand talk to her abouther works and techniquesduring an artist's receptionin the
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I ALBERTA CRAFT MAGAZINE • SPRING
"A Woman's Place"
by textile artist Sanna Kaiser April I O — May 15
Artist reception Saturday April 17, 2 - 4 p.m. A Woman's Place is a series of pictures, created in fibre and recycled materials, that show the story of the evolution of a
woman as she makes her way through life. It is an intimate look of one woman's strength, courage, and perseverance as she struggles Withinternal, and external,forces.The story is a dedicated journey of spiritual growth, faith and truth. By presenting this exhibition Sanna strives to honour all womenwho have survived,risen above,and brokenthrough the crust of abuse and oppression. The eight pieces are large (the smallest measures 63" x 28" while the largest is 81" x 79") and various shapes. Their names - Red Willow Woman,Mother Earth,Ripple Effect,Sister to the Wind, The Evolution of Acceptance, Our Mother,Happy Ever After, and My Place in the Sun —are powerful and help to tell the story.Sanna dedicates these piecesto those women who have gone on to discoverSELFand JOY. Sanna receivedher diploma in visual arts from the Alberta College of Art and Design in 1986studying textilesand drawing. She has participated in many exhibitionsin Canada and the U.S.A.Her work can be found in private and public collections in throughout Alberta and as far away as Arizona. Come to meet Sanna in the DiscoveryGallery during an artist's reception on Saturday, April 17 from 2 - 4 p.m.
Right: One of NArr•s woodshops
Fine Legs, Great Chests and Hot Seats
Below: Student Helen Waters working On her original coffee table
New works by the First Graduating Class of NAIT's new Advanced Woodworking and Furniture Design Program May 22 - July 7
Receptionwith the studentsand instructors:
Thursday evening May 27 beginning 6:30 p.m.
This past Fall (November,2003)the Northern AlbertaInstitute ofTechnology(NAIT)admittedthe first studentsinto their new Advanced Woodworking and Furniture Design Program.
The first graduating class will receivetheir diplomas in June with much anticipation from students, staff and industry professionals.The AlbertaCraft Councilis proud to present the fruitsof their labourin this DiscoverGalleryexhibition. This furnituredesign program is unique in westernCanada. It allows students to take their woodworkingskills to a new level while focusingon creatingfine handcraftedwooden furniture of their own designs. Students spend the majorityof their time in NAIT's wellequipped wood shops honing their practical skills. The program offerscourses such as "Elements of Furniture Design",
"TheCreativeProcess","ComputerDrawings and Presentation",and "BusinessManagement". In addition, guest instructors are invited to present lectures on a variety of topics to provide students with the opportunity to explore different perspectives and techniques.
The first 12 students of the program were kept very busy in this demanding program. They had 6 major projects over the term. The first was a stool that tests the students hand tool abilities.The secondwas a group projectin which they built a reproduction of a famous American Chippendale design. It featuresa hall table and two side tables.The design was chosen to give students experience in developing their advanced technical skills. The completed piece will be auctioned off to raise funds to allow the students to travel to the Winterthur Museum in Delawareto get a first hand look at early American furniture design. Other projects included the designing and
Various sketchestakenfrom the NMI' students'Sketchbooks
ACC file photos
constructionof an original a table,an originalchair,a chestof drawers and a large final projectof their own choosing. Prospective students interested in this program are required to have an Alberta High SchoolDiploma or equivalent, including Math 33, a Millwork and Carpentry certificateor equivalent (1 year of woodworkingexperience)and must attend an interview with the program coordinators.This is not a course for beginners or people with a passing interest. It is very demanding but will provide students with years of rewards.
The program is attracting the attention of a number of individ-
uals and businessesin the furnituredesignindustrywho are
providing scholarships and awards for students of the program. '"Wehave had more individuals and businessesstep up to help
with student awards with this program than with any program we've ever run," says program head PaulRoberts. The AlbertaCraft Councilis very excitedto present this exhibitionof fine handcraftedfurnitureby thesebudding professionals.Wehave set aside our new LowerGalleryspace as a venue and we look forward to the possibilityof making this graduation show an annual event. If you would like more informationon the Advanced Woodworkingand Furniture Design program, call Paul Robertsor program coordinatorMonikaMannkeat NAITin Edmontonat 780-491-3184 or visit the NAITweb site at www.nait.ab.ca/wood Students in the Program:
Melanie Chondo, Edith Hogarth, Sandy Keith, Allen Lane.
Michael I-Ickacz.James Mackay, Alex Paterson, Deborah Schamuhn,
James Stephenson, Shelby Wallace,Helen Waters
SPRING 2004
ALBERTACRAFT MAGAZINE
5
From time to time I get requeststo reprint articlesthat have appeared in past issues Ofthis magazine. This story entitled BreakingIhrough a Creative Blockoriginallyappeared in the March/April1999issue.
Breaking Through a Creative Block Craftspeople,who are successfulat business and their craft, must learn how to maintain an original and consistentproductline, while at the same time continue to work through new evolving ideas. For some craftspeople a problem occurs when some of their products become very popular. They begin to rely on making only those popular products and, withouteven beingawareof it, becomecomplacentin their ideas and original thoughts. After a while, when the sale of those popular products begins to wane, the craftsperson hits a creative brick wall and cannot come up with good new products. Craftspeoplewho are in the business of selling their craft and want to stay in the business are challenged to maintain a consistent product line, yet keep it fresh by Those who constantly change their products never develop a particular style that becomes refined and sophisticated. They cannot hope to build a lasting reputation. Conversely, those who never change what they make will appear dated, stale and unoriginal. The key is to expand current product lines by building on what has been done in the past and add new lines and products that complement, and not compete with, current work. Keeping consistent craft pieces in a product line will develop credibility in the marketplace; adding new products will keep customers coming back, anticipating something new.
easels, everywhere he looked, there were drawings, paintings, sketches and even sculptures of hundreds of roosters. The man exclaimed, "But Henri, I only wanted one!" Matisse replied, "Yes I know, but it must be the right one!" This story illustrates many things: the search for expression, the unsettled desire to rise above mediocrity,and the idea that it is possible to take a simple thought and expand it into almost endless possibilities.This is what all good artists do to develop their work and creative potential. They take their ideas and push them in every direction posSible before they settle on "the right one". Some of the pieces will be successfulwhile others will not, but even the least successful will spur the imagination on to something
greater—somethingthey would neverhave even conceivedof until they had made the first few unsuccessful ones.
During the initial creative processit is important to leave all your value judgments and preconceived ideas outside your studio door. Allow yourself the possibility of making some reallybad work.The sooneryou are able to make the really bad pieces,the sooner you will be able to make the really good ones. Remember that you are in the research and development stage of your craft production. Chances are no one will ever see any of this work so you don't have to be concerned if people will like it, if they will buy it, if it is too different from anything The challenge is to continually come up else you are doing, if it is too similar to with nevvideas for work without hitting a something that someone else is doing; you creative brick wall. The good news is you can concern yourself with those things later. do not have to reinvent the wheel every Right now you just need to work and work time you want to add new works. Youhave and work, and the less thinking the better.
alreadyestablisheda foundation,nowyou
just need to expand on themes, colours, materials,etc.
There is a story about the French painter, Henri Matisse that goes somethinglike this: A man came to Matisseand asked him to paint a rooster. After they negotiated a price Matisse agreed to the commissionand told the man to come back in one week. On his return, the man couldn'tbelievewhat he saw.On the walls,on the tables,on the 6
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ALBERTA CRAFT MAGAZINE
I once had an assignment at art school to paint 30 paintings in one month. After 3 weeks I had done 5 and started 3 more. They were well thought out and technically competent but they lacked life and energy. I was fretting over how I would ever be able to paint 25 more in one week. I started to resign myself to the fact that I was just not going to get them done. I felt defeated. I went to my instructor to ask for an extension but my request was denied. The pres-
SPRING 200'
sure of the deadline forced me to get out of
my own way and just paint.I stopped thinkingand flashesof colourand linesof
drawing went everywhere. I worked at a feverishpace and I did not allow anything to become precious to me. By the end of the 4th week I think I had 25 or 26 completed paintings and I realized the whole purpose of the assignment was to get into the process of creating without judging anything, not to make great art, not even good art. It was liberating for me to realize that if I just got out of my way and trusted my intuition I would discover things and experiment in ways I would never have thought possible. Once I finished the exercise I went back to some of the more interesting paintings and started to expand on the themes that developed. Try this exercise yourself. Give yourself a short period of time to come up with a large
numberof worksand don't give yourselfan extension. Start with what you already have. What designs and shapes are you currently using and how can you expand on them? Is there only one way to use an oval,
a square,a circle?Whatif you cut it in half vertically,horizontally,diagonally?Whatif it were cut into threepiecesand joined
together by some other element? Does a ceramic mug need a handle? How about 4 handles? How could a mug work both aesthetically and functionally with 4 handles? Youwill never know until you allow the possibilityto happen. The point is, in order to come up with new creative approaches to your work, you have to allow all the possibilities before you start eliminating any of them. Successful craft artists are constantly developing new products by expanding on ideas, experimenting with new surfacetreatments, materials, design elements, etc. When you want to develop new products pick up the challenge and have fun with it. Go back to your source and remind yourself Why you started to make craft. What inspires you? What are your values, your beliefs, What is important to you? Don't allow that creative brick wall to stand in your way. Blow right through it with an explosion of... perhaps roosters. - JC
Distance
Hand built clay houses by student Diane Hove
Diploma
Imagine if you will for a moment,thatyou are a clay artist working away in your studio on some recent orders. Over the years your sales have been relatively consistent and your productionwork has been keeping you busy. Youare happy to be working on your own as a potter but there is something missing. Youwould like to experiment with new ideas and techniques to take your work to the next level, but because of time constraints, family commitments and perhaps the lack of knowledgeable peers in your regionyou find it very difficultto develop and work through new ideas. Youwould love to go back to school but it is not really very practical for you. If this sounds like you Red Deer College may just have the right solution. Red Deer Collegehas recently become the onlysatellitecampusin North Americafor the Australian National University's (ANU) long distance learning diploma in ceramics. The programis uniquein that it provides an opportunity for anyone interested in a semi-structuredenvironment to develop their clay working skills and achieve a fully accrediteddiploma,all in the comfortof their own studios.The onlyrequirements are access to a clay studio with a kiln, a computer for tutorials and progress reports, and a strong desire to learn. At the end of the 4-year program participants will receive a Diploma in Ceramics (DistanceMode) from the Canberra School of Art at the
AustralianNationalUniversity.
The program works like many other correspondence programs. Assignments are handed out, students work at home, around their personal schedules, they correspond with each other and their instructors, and are required to achieve a certain level of proficiency before progressing to the next level.The one big differenceis that each semester students are required to attend an intensive 9-day on-campus training session taught by renowned ceramic artists from around the world. While I was at Red Deer College in December, Matthias Ostermann,an expertin maiolicaand tin glazing was teaching maiolica techniques and Dorothy Feibleman,an expert in porcelain and coloured clays, was teaching millefiore techniques. During these on-campus sessionsstudents are led through various techniques like slip casting, wheel throwing and altering forms, paperclay sculpture, relief tile making and glaze technologies just to name a few. Students also attend classes in drawing, crafthistory,photo documentation,artists talks,field trips and studio visits to round out their education.Duringthe sessions they are assigned projectsto work on at home which are due at the start of the next on-campus session. Between the sessions students are required to submit progress reports and images of their work to the university for instructor feed back. A private message board has been set up on the Australian National University web site to accommodate correspondence between instructors and students. Anyone who has taken any courses in ceramics,from novice to advanced, will tell you that the communal aspect of working with clay is a big draw. Unlike some other craft disciplines where people are able to work quite comfortably alone, ceramic artist, especially those just starting out, often work in groups to fill, or sometimes even fire, a kiln. While this communal spirit
have to be today." Students are forced to make contacts with ceramic artists from all over the world. In fact, if a student so desires,he or she can also travel to Canberra in Australia,to attend one, or more, of the on-campus sessions. Trudy Golley, head of the ceramics department at Red Deer College, is one of the key reasons RDC has partnered with the Canberra School of Art to deliver this program. She developed a relationship with the Canberra School of Art first as an invit-
ed visitingfellowin 1995and then again in 2001as an artist in residence and instructor in the distancediploma program. Janet DeBooswas familiarwith the facilitiesat
RDChavingtaughtin 'Series'in 1999and after visitinga numberof institutionsin Canada felt that RDChad all the right
ingredients to be the satellite campus. When Golley took up the position of head Ceramics at RDC in 2000it all came together in terms of philosophy and facilities to begin the satellite project. In 2002DeBoos came to RDC as a presenter at the
Aestheticsof Skillconferenceand gave a
post-conference master class, plans were underway at that time to begin the first distance school in July 2003.Currently there are 11students enrolled in the North American school and 47 in the Australian school.Students can opt to do their oncampus periods in either location and both schools look forward to the cross over. Tuition for the 8 semester program is close to $900per semester for the first six and about $7000for the last two (or 93500each semester) if students are interested in a diploma. If they choose not to go the diploma route, students will receivea letter of attendance upon completion. When asked why they are interested in taking this particular program one of the students replied, "We want to better what we do." If you are a clay artist who "wants to
better what you do" and wouldlike more mayseemto be missingupon firstglanceat informationaboutthe programcall RDCat a correspondence course in ceramics, the opposite is in fact true. In an article printed in the Red Deer Advocate Janet DeBoos, head of the ceramics department at ANU is quoted as saying, "We want them to look at the world as their studio instead of this one little, tiny patch of grass. It is the way you
bystudentStarBulmers vessels Ceramic
ACC file photos
1-403-342-3130 or visit the ANU web site at http://online.anu.edu.au/ITA/CSA/ceram ics/ distance_diploma.html —JC
SPRING 2004 • ALBERTA CRAFT MAGAZINE
7
Gallery nit.
April 1 - May 1, 2004
be a
ad
a
Ing-Mus
Alberta has a remarkably varied and rich musical culture. With the new and already world-famousDavis pipe organ, several of the largest music festivals in Canada, two Of the country's best orchestras, a long list of celebrity singer-songwriters, innovative children's music programs, an aboriginal hip-hop scene, original operas featuring Alberta legends, leading-edge recording companies, a world-classcollection of historic keyboard instruments,the highest rate of musical ticket consumption in Canada... Alberta throbs with music.
Charles Shifflett's studio, High River.
his musical energy is celebrated with two special events this year, the Junos in Edmonton (April 2-4) and the Western Canadian Music Awards in Calgary (Sept. 30 - Oct 3).
explains that people often perceive alphorns as novel, even child-like.Despite their apparent simplicity,as serious instruments they are challenging to both make and play.
Not as well known, but equally remarkable, is a growing cluster of accomplished and sophisticated musical instrument makers. They build classical, folk and experimental instruments, for a clientele which is both local and international and ranges from serious amateurs to celebrities. A sample of this work is featured in "Making Music", an exhibition of handmade musical instruments from Alberta's leading makers.
A matched quartet of string instruments 2 violins, viola and cello. This rare set was made by Okotoks-based luthier, Don Barnes for the Calgary Philharmonic Orchestra as part of a CPO program to provide aspiring and promising young musicians with instruments good enough to advance their training. Featuring Sitka spruce and big leaf maple from British Columbia, Barnes says these instruments are "not only made in Canada, they were grown in Canada." And since both the maple and spruce for all four instruments comes from single logs, the instruments visually and tonally match exactly. Barnes is one the Alberta's leading experts in the making of classical string instruments. He is also a prominent supplier of premium quality tonewoods used in instrument making. The quartet is on loan from the Calgary Philharmonic Orchestra for this exhibi-
Finding the makers and Organizingthem into an exhibition is new work for the Alberta Craft Council. These people regular-
ly speak of their "craftsmanship" , but they tend to join or affiliate with music-focussed organizations such as music schools, orchestras, jazz clubs or folk music festivals. Finding the makers has been a challenge, but also a delight. They are a fascinating lot and they are responding enthusiastically to the idea of exhibiting their work through a Craft Council exhibition. Indeed, research continues and several more makers will be added to the exhibition by the time this article appears.
Some highlights of the exhibition include: A sixteen-foot alphorn made and played by William Hopson. A French horn player with the Calgary Philharmonic Orchestra, Hopson is also well-known as a maker/player in Switzerland, the home of alphorns. This instrument form developed more than a thousand years ago as a means for isolated Swiss shepherds to communicate with sound signals. But Hopson, who has a three-octave alphorn range, is know for his performances with symphony orchestras as well as with folk groups where several hundred alphornists gather to "blow the tops off mountains". Hopson makes about 15 alphorns each year for musicians, from Canada, the US and Europe, Who wait patiently for his custom-made instruments. Hopson 8
ALBERTA
MAGAZINE • SPRING 2004
tion.
A Celtic harp made by Leduc-based maker John Dorman. This instrument was commissioned by Keri-Lyn Zwicker in 1997.She has graciously lent her harp to the exhibition. Barnes makes about 25 harps each year for customers across the conti-
nent. With an eighteen-month waiting list, his harps leave the studio as soon as completed and then seldom leave the hands of their owner/ players. Zwicker commissioned a Barnes harp for two reasons; she wanted "great sound" and "robustness". As a solo performer, and as a part of Cowboy Celtic, she travels extensively and has carried her harp around North American and Europe. Zwicker speaks with pride about the accolades her Alberta-made Barnes harp has received during her tours of Scotland.
In the Lower Gallery
Handwork Series: to the bone, in the blood, from the heart Jane Kidd, Calgary Alberta May 8 —July 7 Jane Kidd has been faithfully exploring symbolic narrative through the traditional processes of woven tapestry for 20+ years. Although trained in modernist aesthetics, the prime motivation for Kidd's art making is in the linking of non-western art traditions to the history of those textiles functioning as ceremonial objects. Within her highly patterned, illusive
spaces, Kidd strives to constructa lyricaland layered visual discourse that is charged with a personal and social meaning.
Top Left: William Hopson posing with one of his alphorns. Left: A "classic" guitar under construction in the Shifflett studio.
Right: Keri-Lyn Zwicker with her Celtic harp by John Dorman. Photos courtesy of the artists
A classic guitar made
by Charles
Shifflett.
Shifflett describes himself as "not a very accomplished player". But he has a reputation and demand for his work, that indicates he is an accomplished and sought-after maker of acoustical guitars. He designs and builds a wide range of historically inspired and innovative guitars - classical, flamenco, parlour, resophonic, steel strung, Django jazz, bass and Others. He has
This exhibition includes 12 pieces from her Handwork Series that contain images derived from anatomical and gestural drawing of the human hand and forearm juxtaposed with images derived from traditional or historic textiles.
Written by Amy GogaHy and previously published on the Stride Gallery Web Site at www.stride.ab.ca
an internationalclienteleand although he speaks disparagingly about the financial logic of making musical instruments, he
has just constructed a new timber-framed studio in High River. Shifflett's clients are attracted to his ability to customize forms, materials and details to their personal desires. He tells of one customer who developed such an attachment to his new custom-made guitar that he increased his daily practice time from half an hour to two hours.
Making Music is a special one-month exhibition, April 1 to May 1, 2004 The Alberta Craft Council thanks: John Mahon, EdmontonArts Council Nora Bumanis, Edmonton Symphony Orchestra and Al Chapman, Alberta Foundation for the Arts for their advice,enthusiasmand connections. A
complete
list of exhibition
participants
appear in the next issue of this magazine.
will
departure, voyage,
arrival,2001,1290nx Photography by John
Dean
—TM
Right:
HandworkSeries:to the bone, in the blood,from the heart, 2000 —2002
installationviewofsir
of the nine fragments —
167cmx 139m(each
fragment 50cm x 66cm)
1.
SPRING 2004 • ALBERTACRAFT MAGAZINE
t 9
Feature The Journey of Life I never knew Lorraine Malach, but in the past few weeks I feel I have gained a small insight into who she was —an accomplished artist, an insatiable learner, a joyful soul. Last year she passed away in Drumheller, AB just days before her 70th birthday. Malachwas an artist who left behind a legacy of paintings, murals and ceramic panels that adorn the walls of many churches, schools,public buildings and private collections across Canada and as far as the Vaticanin Rome.At the time of
her death she was working on a massive ceramic mural that she was to donate to the
RoyalTyrrellMuseumin Drumhellertitled The Journey of Life. With the help of ceramic
experts,Arne Handley, Janet Gabner,and master mason Jake Ketler the piece was completed and installed in the entrancewayto the museum. Thank you Lorraine for giving us this, your final legacy.
The Journey of Life by Lorraine Malach completed by Arne Handley, Janet Grabner and Jake Ketler. 40' x 8' Installed in the entrance to the Royal Tyrrell Museum, Drumheller, AB.
RoyalTyrrellMuseum.She donated all her time and energyas a
gift to the museum while the Royal Tyrrell Museum Cooperating Societydonated materials and equipment for the project.
Dr. Paul Johnston,curatorof InvertebratePalaeontologyat the museum was a neighbour of Malach's and they became good
friends.Johnstonlent her stacksand stacksof books for her research.She would spend countless hours with books spread out all over her floor soakingup the information.She soon
became consumed by the project spending most of her waking hours researching, designing, sculpting, and firing the piece. I'm told that this was the way she worked on all the projects she would undertake. There is a story of her working on one particular piece where she became so immersed in the work that she completely forgot about Christmas day and it was only after-
The mural is Malach'sinterpretationOfevolution,diversification ward that she realized what day it was. and extinctionof life on earth from the PrecambrianEra (4.6bil- At the time of her death the mural was about 80%completed. lion —545 million years ago) to the Cretaceous Period (144—65 After a time of grieving the museum was left to decide what to million years ago) based on her research of scientific facts. It is do with the uncompleted mural. They hired a consultant to made of a white clay body that stretches 40' long and is 8' high advise them on the best way to go forward.Aftera searchfor an consisting of ten panels using approximately ten tonnes of clay.
Eachpanel is made up of many individual pieces that all fit together like a jigsaw puzzle to create a visual narrative. Malach uses stylized images of human figures and facial expressions to symbolize various significant events that occurred over the time period. Her use of figures to symbolize her ideas is a reoccurringtheme throughout most of her works. I see this as
Malach'sway of exploringthe idea that all life, not just human, has a spiritual component to it and it may also point to the idea that all life on earth has affectedhumanity and humanity has, and continues to have, an affecton all life. Perhaps it is her way of saying that all life on earth sharesa similar condition,that of birth, the struggle to survive, the need to propagate, and eventually death, hencethe title TheJourneyof Life.
appropriate person, Medicine Hat potter, and ACC member Arne Handley was invited to give them a needs assessment.Handley
concludedthat all of the small "puzzle"piecesfor the first 6 pan-
els were sculpted and bisque fired while the rest of the pieces were sculpted but not yet fired. Handley recommended that they find someone to fire the remaining pieces and complete the proj-
ect.AnotherACCmember,JanetGrabner,who lives in East Coulee,knew a little bit about the projectand was contactedto see if she would help complete it. Grabner was happy to accept
the job to finish the firing process and assemble the panels. Grabner had not seen the mural before she offeredher services
and was astonishedat the shear size and complexityof the piece. "The first time I looked at it I almost fell over.It was so huge. Two of the panels were assembledand not fired and two Originally from Saskatchewan,Malachmoved to Drumhellerin of them were scatteredall over the place with numbers on the 1993to complete a commissionedmural for a local High School. back so I could tell what panel they came from,"explained Grabner.Malachalso left a maquetteand drawing behind, She was immediately taken by the area and decided to make it so Grabnerdid have something to assist her in putting it all home. She was said to have had an insatiable desire for her new together.However,neither the maquettenor the drawing knowledgeabout our universeand its many aspects.It was her all the little details that went in to make up each provided thirst for knowledgethat inspired her to create the mural for the 10
I ALBERTACRAFT MAGAZINE • SPRING 200.1
Portrait: Lorraine Malach in her studio, Photo courtesy the Royal Tyrrell Museum
Detail of Journey of Life, ACC file photo
ACC file photos
panel. For this Grabnerhad to try and get into the mind Of
Malach. "1remember standing there just talking to Lorraine (figuratively) saying, 'What? I don't get it, I don't get it!' And then I got it. It was almost like she came down and went into my brain because suddenly it would just come together," remarked Grabner.
AfterGrabnerfinishedthe firingthere was talk aboutthe surface treatment. All of Malach's other pieces are wonderfully coloured
and there was no doubt that she would have wanted to colourthis piece.Unfortunately Malach left very few clues as to what colours would have been used; it was decided to leave the piece with no colour after one firing and to seal the surface with brick sealant and install it on the wall. Becauseof the size and weight of the piece,
master mason and long time friend and collaboratorof Malach's, Jake Ketler was brought in to install the work. One December 9, 2003,more than two years after its inception, the mural was officially unveiled to the public at the Royal Tyrrell Museum. I applaud the Museum for having the courage to complete the projectand to install it in its main entranceway where it will be seen by thousands. I see this piece of art not only as a compliment but also as a complement to the scientific studies being done at the Museum.The arts and scienceswork together to help us gain understandingof each other and ourselvesproviding us with a contextto better understand our place in the world on our own Journey of Life. —JeffCollins
Risky Business? id you know that there is now a program of business insurance tailored for the Canadian Craft Industry? YOU TOLD US YOU NEEDED: • a custom program with broad coverage • including exhibitions across Canada and the USA
• liability coverage in the studio for craft instructors • and greatly reduced program rates
Insurance
Program
WE DID IT!
For complete details, contact Kim Libenstein, Program Co-ordinator and Account Executive Nacora Insurance Brokers Ltd., 1075 Bay St., Suite 404, Toronto, Ontario M5S 2B1 Tel: 1-877-922-0030, ext. 222 Fax: (416) 922-8400 E-mail: klibenstein@nacora-can.com Alberta Craft Council Memberssave $25.00.
Why have a risky business?
In the News Notice to All ACC
Councilcurrentand thrivingis a challenge.It takes the enthusiasm and commitmentof a lot of people, and, unfortunately, it also takes money."That is realityspeaking
Members:
2004AlbertaCraft Council Annual General Meeting Thisyear'SAnnual General Meetingwill be hostedat our Gallery & Shop in Edmonton,
So, if you believein the Alberta CraftCounciland what it is striving to achievefor finecraft and its membership,considergivingto the Campaign.A little(and a lot)go a longway. Besides,you're alsoentitled to an incometax receipt! — CarolynPatterson,
10186 —106 Street. Join us and
discoverour newly renovated lower levelexhibitionspaceon Saturday, June 5, 2004,beginningat 1:00pm. Light lunch and refreshments will be provided. After the AGMJeffCollinswill providea tour of ArtsHab,a live/work studio for 13 Edmontonartists. Details and proxies will be arriving in your mailboxsoon.
director on the ACC board.
I Love My ACC Campaign "Why,"do you ask,"'shouldI contribute again to the Alberta CraftCouncilwhen I have already paid my membershipfeesfor the year? What's in it for me?" Well,let me give you a coupleof my thoughtson why it is important to consider a donation to Ourannual ACC Campaign. Peoplecontributebecause they want "'the wonderful" to happen — maybe a gallery in Calgary;maybe more travellingexhibitionsaround the province;maybe the development of new featuresand services. And out of that Comesan "ownership reward" shared by many members, not just a few. Lookat our ACCVisionStatement: "Craftsare an integraland unique part Ofourculturalheritageand need
ACC Board membershard at work From left to right: Carolyn Patterson(back of head), Shona Wehm, TomMcFall, Simon WrooL ACC file photo
to be encouraged,developed,and
preservedfor the cultural, social,
educationaland economic well-being of the people OfAlberta."
That'sa prettypowerfulstatement —one that I believein and support, and support is vital to the ACC. Competitionfor funding is huge, so a contributionindicatesa commitment to our Organization.It also means you care about what happens in, and for,the future. It's the bigger picture. Another quote —this time from
Consequence of
Material. International Ceramics Conference at Red Deer College, June 11 - 13, 2004
Red Deer Collegeis fast becoming the meetingplacefor all things clay in Alberta.Onceagain they will present an internationalclayconferencemeant to bring together clay artistsfromvariousparts Of the world to share ideas and techniques,show offwork, participate in workshopsand socialize.This year the conferencewill host studio demonstrations, artists presentationsand exhibitionsincluding: Principle/Element - International Invitational,an AlbertaCraft Council exhibition, and a Juried StudentExhibition. The keynoteaddress entitled"A New Alchemy: The MaterialQuest in an AbstractAge" will be presented by KevinMurray,Executive Director,Craft Victoria,Melbourne, Australia. Twoworkshopswill be held before and after the conference:
I ALBERTACRAFT MAGAZINE
Shynkaruk will run June 07, 2004 -
June 11,2004.This workshopwill investigatevariousclaybodies, stackingstrategiesand firingcycles employedin the woodfiringprocess. Journeyof Discovery:Throwing withTakeshiYasudawill run June 14,2004-June 18,2004.Takeshi willhelp you to formthe base for yourcreativethrowingavoiding traditionalconstraints,mythsor unintentionalself-imposedlimitations.He will teachyou how to effortlesslyprepare 20kg Ofclay and throw 7kgwith ease. He will correctyour postureand teachyou to throwwithoutstress.
SPRING 2004
2. CraftsCreatedusing manufactured parts, pieces Orfabricsif these materialsare subordinateto the totaldesignand productionOf the craft product.
The followingcategoriesare NOTeligible:
Studentand earlybird registration feesare availablefor the conference. Course fees vary. For more informationcontactWendyMeeresat RedDeer Collegeat 1-888-886-2787 or visithttp://extension.rdc.ab.ca
New Immigrants Show Call for Entry
Celebratingour ethnic diversity throughcraft Canada is a countrywhere ethnic diversityis respected,celebrated and encouraged.Oftenthis diversity is most evident in the craft objects createdby thoseindividualswho maintaina strongconnectionto their roots.Fromceremonialobjects usedin religiousservices,to ethnic festivalcostumes,EastIndian fibre work,Asianmetalor claywork,our storiesare expressedand kept alive in the Objectswe make by hand. The Alberta CraftCouncilwants to celebrateour diverse heritagesby presentingan exhibitionof fine craft made by people who have originatedin some other part of the worldbut now callAlbertahome. The Alberta CraftCouncilis calling upon individualswho create fine craft, that is reflectiveOftheir homelandor culturalorigin,to be exhibited in an exhibitionat the AlbertaCraftGalleryJuly 10th throughSeptember25,2004. Thefollowing categoriesof crafts Canbe
submittedfor revieuyby thejury:
1.All craftscreatedfromclay,glass,
fibre, wood, metal, leather or Other
materials,
SimonWroot,our Chair Ofthe Board:"Keepingthe AlbertaCraft
12
WoodFiringCoursewith Wil
two-dimensionalartwork (including paintings, drawings, prints, photographs, etc.); works executedfrom commercial patterns, molds, stencils or kitsof any description; productsmade solelyby assemblage of purchased commercial objects,Orsolelyby decoration of commerciallyproduced objects;
hand-made, unfinished materials
produced to make other products (such as dried flowers, spun wool, etc.); craftsmade usingcommercial craft-makingactivitiessuch as decoupage,paper toleor pressed flowerpictures,unless the creativeand skilleduseof these techniquesis used to createuniquelydesignedand finelycraftedobjects.
Deadline for entry is May 14, 2004 TOapply for the exhibitionplease send followingto the AlbertaCraft Council , 10186—102Ave, Edmonton, AB,T5J IH4 Tel: 1-780-488-6611
Contactinformation:name, address, phone & email 5 to 10 slides, images a brief descriptionexplaining how the work is reflectiveof your homeland A short bio describingyour craft makingactivities A CVoutliningyour education and exhibitionexperience • An artist statement Note:all work must be made in Albertaby the person Whois applying for the exhibition
Call for Exhibition Submission for the Discovery and Lower
Gallery
Annual Deadline: August 30 Group& Individual Showsin the DiscoveryGallery
Yoursubmissionmust include: main contact: name, address,
phone & email name of organizationor group(if applicable) must be a current memberOf the ACC(individualor organization) • detailed description& theme of the exhibitionor curatorial statement and artist statement(s)
copiesOfprint exposure
(newspaperarticles,magazine
or catalogues)
• slides,images& description ofwork
number of pieces/artistsin Orexpected to participatein exhibition time of year preferred is some/all of your exhibition for sale
Send your submissionby 5:00 pm,
August30 to the:
AlbertaCraftCouncil Attn: DiscoveryGallery Submissions
10186- 106Street Edmonton, AB T5J IH4
Book Review The Potter'sProfessional Handbook:The CompleteGuide to Defining, Identifying, and EstablishingYourselfin the Craft Community by Steve Branfman Krause Publications, 1999
ISBN 0-87341-678-3 by RachelleChinnery
responsibilityis in westernsociety. Branfmansays here that "to be dedicatedand driven towardsthe pursuitof craftmakingand to have the attitude that your craft is integral to your lifeis Ofthe utmost importanceand cannotbe stressed
enough" (p. 26). His approach in
this book is in equal parts both philosophicaland practical.
"Identifying"yourselfis essentially
claiming the title of potter within a
societywhere the role of craftshas diminishedalmostbeyond relevance.The authorjokesabout how in collegehis friendsteasedhim about "'majoringin hobbies,"and how callingyourselfan artist is oftena defensiveprocess. Branfmanmaintainsthat cultivating a professionalstate of mind in additionto qualitywork is key to identifyingyourselfas an artist. "Establishing"is dealt with Ona practicallevelof studioconstructiontips and blueprintsfor model studios,while Chapter2, "The
Transitionto Professional:Life
After School,"discussesmyriad ways of makinga livingas a potter whilediversifyingyour skillsset. He advocatesmaintaininga very broadcontactwith the claycommunitywhile establishinga studio. Branfmaninsightfullyrecommends teaching,tutoring, getting published, and exhibitingas wellas approaching galleriesto help developa professionalprofileand practice.
Ward Collection Sale Historic and Vintage Pottery
From the estate of Jean and Henry Ward
A benefit event for the Alberta Craft Council
(England),LowerdownPottery (Devon,England),JerseyPottery, Sale - Thursday June 17, 730 PM (ChannelIslands),DeniseWren (hors d'oeuvres and cash bar) (OxshottPottery,England), Marriannede Trey'(Shinners Preview - Wednesday June 16, BridgePottery,England),and 10:00AM to 5:00PM and various "anonymous"potters. ThursdayJune 1710:00AM to There are alsohistoricpieces 730 PM fromKoreaand Thailandor Indonesia,and shards of pottery GuestAuctioneer- the HonourableGene Zwozdesky, foundthroughouttheAmerican southwestand Mexico. Minister of Community Development "Thetime has comefor Jeanand Jeanand Henry Ward,long-time Henry's potterycollectiontofind Edmontonresidents,wereaccom- new homes. We take pleasure in Offeringthem to you and hope you plishedpotters and avid pottery collectors.Their entire collection of willenjoythemas muchas our parentsdid." more than 140piecesOrsets of (now)vintage and historicpottery Peter and John Ward (sons) has been donated to the Alberta Viewingand sale: CraftCouncilas a fundraising AlbertaCraftCouncil, project. LowerGallery Street, The Ward collectionincludes pot- 10186-106 teryby SibylLaubenthal,Helen Edmonton,Alberta McKenzie,JohnChalke,Charles (780) 488-6611 craft.ab.ca Hilton, Jane Van Alderwegen, M. acc@alberta Levine,David Green, Lorrette Visit tuww.albertacraft.ab.ca Moore; (all from Alberta), for moredetails and photos of Adolphand LouiseSchwenk workfor sale (Penticton,BC),St. Ives Pottery
This bookcame acrossas a potter's versionof The Artist'sWay.It is a step-by-stepguide to selfassessment and goalsettingthroughrealisticvisualizationtechniquesand a RedGreenbrandof commonsense. And despite the author's contentionthat it is not a "how-to" book,it is a very sound professional developmentguide with a surprisingcombinationof poignant essays and good studio tips.
Althoughmany craftspeoplemay find it difficultto believethere is a complete"how-to"bookforsetting up a practice,this one comes very closeto hitting the mark.The subtitle clearlydefinesthe author's goalsand he systematicallyguides the reader OutOfthe beginner stagesof craft into the professional realm. Although the author, Steven This article is reprinted with permission Branfman,specificallystates in his from the Craft Contactsnewsletter published by the Crafts Associationof introductionthat this is not a BritishColumbia.It wasoriginally "how-to"book,he aptly lays out published in Craft ContactsFebruary Solidsuggestions.
"Defining"yourselfcomesabout throughcriticalessays suchas "The Roleof Handmade Objectsin
/ March / April 2004 issue.All other
usesare prohibitedand allfurther publicationrightsreserved.
Contemporary Society."This chap-
ter offerspotters a set of guidelines definingwhat a potter's roleand
[bttery by John Chalk in the won/ Collection, ACCfile photo
SPRING 2004
ALBERTACRAFT MAGAZINE
13
CALENDER SUBMISSION DEADLINE:
www.prairiecraftshow.com
Pikes Pottery Course in High River
all
TheAlberta Craft Council is open to submissions of opportunities
Calling Exclusive to Alberta, Saskatchewan and Manitoba. •Let us create, host, artists, crafters craft suppliers and retailers brochure" Link and maintain your website, your own online craft organizations on information Share are welcome exchanges events and projects 306-978-1388 mail@prairiecraftshow.com
space permitting.If you are interestedin promotinga special event activity, gallery, show, or employment opportunity, please
We're searching for serious local, provincial and
reliability of all the programs and serviceslisted below, however
gift shop setting. If you are interested in consigning your art
For the Summer 2004 issue is May 25, 2004
call 1-800-DO CRAFT or (780) 488-6611; fax (780) 488-8855; e-mail:acc@albertacraft.ab.ca for craftspeople, from any craft organization in the province,
cal/ the ACC office. The ACC makes every effort to ensure the
we will accept no liability for a any loss or damage as a result of
Nickle Arts Museum Gift Shop
(403) 220-7234
Notice to All ACC Members
Calyx Distinctive Arts
promote your studiu place want ads, etc in your Alberta Craft
Magazine. Simply email or fax your ad to the attention of Jeff Collins and make a note of what issue you want it to appear in.
Contact Jeff Collinsat 780-488-6611 ext 225, toll free in AB at 1800-362-7238, fax 780-488-8855 or email jeff@albertacraftabca
CALLS FOR ARTISTS link for up Check out wmv.albertacraft.ab.ca and hit the EVENTS to date and expanded listings for calls for artists
The Works Art & Design Festival 2004 - Edmonton
The Works is now taking applications for Art/Craft Vendors for the 2004 festival, June 25 —July 7 2004. For information and an application entry form contact The Works in Edmonton at 780-426-2122 mail to: #200, 10225-100 Ave, Edmonton, AB. T5J OAI , ernail: theworks@telusplanetnet web.
Kootenay Gallery Of the Arts proposals for 2005
Deadline: May 25, 2004 for proposals from visual artists to exhibit work in all media for exhibitions in 2005. Exhibition Committee Kootenay Gallery of Art, History & Science, 120
Heritageway, Castlegar,BC VIN 4M5, (250) 365-3337,
info@kootenaygallery.com and w«w.kootenaygallery.com
Holiday Artisan Market. Southem Alberta Art Gallery, Application Deadline June 1
a
at
Calgary's Nickle Arts Museum Gift Shop contact Robin at
doing business with any of the advertisers contained herein.
Alberta Craft Council Members are entitled to free classified ads Up to 50 words. one per year, space permitting. Sell your work.
Canadian
artisans who are looking to get vital exposure for their work in
Calyx hosts art exhibitions and sales twice annually in Calgary, AB, The four founding members of Calyx, exhibit and sell their
own work and welcome other qualified artists to participate. If you are an artist with aspirations to sell your work in a high
quality, juried event with like-minded peers, please contact us at (403) 949-2961 or calyxart@shaw.ca for more information. please visit our website at www.calyxart.com.
Southern Alberta Art Gallery Gift Shop
Are you seeking a select outlet for your finely crafted glass, ceramics jewellery, weaving or quilting? The Southern Alberta
November 18 • 21, 2004 18th annual, juried, 210 artisans. high quality event in the Telus Convention Centre (City Centre)
Calgary, AB Apply early' Processing will start April 1, 2004. Applications at www.artmarketonline.com, Visit the web site for an Internet Marketing Opportunity Call toll free: 1•877-929-9933
or 1•250-612-2411 Marlene Loney An Market Productions Inc p.o. Box 190. Barriere, BC. VOE IEOfax: 1-250-6728517
Email: info@artmarketonlinecom
14
10215 - 112 Street. Edmonton
harcourthouseab.ca
Arts & Cultural Management Program Online
Grant MacEwan Community College in Edmonton is offering
Arts and Cultural Management program online. They now have
5 courses available via the web with plans for the remaining courses available September 2004. For info contact Alana
Broomfield (780) 497-4408, email: broomfielda@macewan.ca Alberta Potters' Association 2nd Annual Wood-fire Fundraising
Symposium. May 8 - 18, 2004. Wildwood,AB
wood-fire kiln combined with a cantenary arch wood-fire glaze or soda kiln. Cross-draft Kiln: A 30 cu. ft. wood-fire/soda kiln. Workshop Inquiries Email: mail@albertapotters.com Note:
EXHIBITIONS and EVENTS
Must provide own packaging & hanging, etc., JURIED Call
Thelma Likushi for more information at (403) 266-6783
Clay Creates Culture
CRAFT SHOWS AND FAIRS
The Alberta Potters' Association 2004 Juried Exhibition.
Visit the Alberta Craft Council web site for a listing of more than
in attendance at the opening reception, Thursday, March 28, 2004. Prizes will be rewarded at the opening reception.. For
interest to Alberta Craft Council members? Fax us your information at 780-488-8855 or email at acc@a/bertacraft.ab.caand we
Ukrainian Cultural Heritage Village Artistic Workshops
2004 Art Market - Art & Craft Sale —Calgary
contact:Harcourt House officeat (780) 426-4180
Alberta T2G OP6, Fees: S200 for 1 month & $125 for 2 weeks,
100 Years / 100 Pictures Calling all Edmontonians for photographs of Edmonton!
2 Sir Winston Churchill Square Edmonton, Alberta T5J 2C1
workshop plus many others. For more information please
$220 (non-members)
Suite 133 One PalliserSquare, 125 • 9th Avenue SE. Calgary,
will be sure to include it in our calendar section.
September 19, 2004, Please mail submissions to:
figure in relief, alternative Polaroid techniques, egg tempera
Accommodations booked separately Fee: S 190 (APA members)
Marilyn Smith, Director (403) 327-8770 ext. 5, info@saag.ca or www.saag.ca.
photographs will be featured at the EAG from May 29 to
Sculpting the figure in clay, figure drawing, painting the figure, drawing the self portrait & exploring portraiture, sculpting the
Centennial Gallery
Doesyour group offerclasses or instruction that would be of
to invite Edmontonians to submit a photograph of the city for our special community exhibition, 100 Years 1100 Pictures. 100
community with a wide range of an classes and workshops.
Opportunity for show in Calgary 2004 & Ongoing at
south Lethbridge, AB, TIJ OH4 Tel: (403) 327-8770 ext o; Email sblack@sagg.ca
Acceptance is based on quality, originality, craftsmanship and salability of the work submitted. This year, for added variety,
Deadline for submissions: Friday, April 18, 2004 at 4:30 pm. As part of the EAG's 80th birthday celebrations and to commemorate the Centennial ofThe City of Edmonton, the EAG is pleased
For the last fifteen years Harcourt House has been providing the
Expedience an 11 day wood-firing workshop. Two different kilns will be used. Cat-Coffin Kiln: A 200 cu. ft. multidirectional coffin
EDUCATION
more information and an application form please contact
New Courses, Drop-in Art Classes & Special Workshops, Harcourt House
Alberta Craft Council members. Contact: Sue Black. Vlsitor Services Manager,Southern Alberta Art Gallery, 601-3 Ave
and Canadian artisans and proudly feature that of several
participatein this sale:a) Rent a boothOR b) For a commission
specialty food exhibitors are invited to submit applications. For
High River,Alberta. Intermediate Level - You must be able to throw. 8-10 people, S345+gst, not including clay. Apply: Pike Studios 1303 10th Ave SE. High River, Alberta, Canada TIV 114 Tel: (403) 652-5255 or info@pikestudios.com
Wild Fire 2004
1OOcraft shows and fairs in Alberta and elsewhere, www.albertacraft.ab.ca.Hit the EVENTS link and search the directory for details on each show.
we will sell your work on your behalf. This is a juried show
and functionalpottery.August 9 - 13, 2004 at Pike'sStudioin
An Gallery, located in Lethbridge,AB extends an invitation to artists and crafts persons to build an appreciative client base for one-of-a-kind pieces. We currently carry the work of 40 Alberta
Holiday Artisan Market (26th season) has earned a well-deserved reputation for its variety of high quality and unique craft work. The event. organized by SAAG, will coincide with the kick off of
Lethbndge's Bright Lights Festival. There are two ways you can
A 5 Day Pottery Course focusing all the aspects of production
Located only 25 minutes east of Edmonton on Hwy 16, the
Ukrainian Cultural Heritage Village is offering a variety of cultural one-day workshops, from Pysanka writing to willow pioneer chair making and Ukrainian cooking. For more information:
(780) 662-3855 or uchv@mcd.gov.abca
Edmonton Weavers' Guild Classes and Workshops
Classes in beginner and intermediate weaving and beginner spinning. Workshops in weaving, spinning, basketry, felting, dyeIng. Registration is open to anyone but spaces are limited. For more information or to register, contact Sonja Myroon at (780) 452•1152 or omyroon@tel us pl a netnet
Workshops in Tuscany
Vetrate Artistiche Toscane will hold intensive summer workshops in glass fusing, basic mosaic, painting on glass 1 and painting on glass 2. The workshops will take place in the very centre of Siena (Tuscany) and will be conducted in English. For details visit mm.glassisland.com/education
I ALBERTA CRAFT MAGAZINE • SPRING 2004
March 25 • May 1, 2004 at the VAAA Gallery, 3rd floor, Harcourt House 10215 —112 Street, Edmonton. Juror, John Chalke will be
more info contact The Alberta Potters' Association, Clay Creates Culture Juried Exhibition, Box 636 Wildwood, AB, TOE 2M0, Email: mail@albenapotters.com Web: vvww.albertapotters.com
Focus on Fibre Arts Association, Juried Competition and Show of Fibre Art (2004) "Healing Ihrough fibre Arts" Edmonton Art Gallery — Margaret
Brine Gallery, April 30 —May 1, 99 Street and 102 Avenue, Edmonton (780) 422-6223 and then at the Alberta Craft
Council's Discovery Gallew, July 10 —August 10
Quilted Expressions 2004
Experience the Beauty of Quilts -Edmonton & District Quilters'
Guild - Quilt Show,September18th - 11:00 a.m. to 4:00 p.m.,
September 19th 10:00 a.m. to 6:00 p.m. at Fort Edmonton Park,
Edmonton,AB
The 18th Annual "Art of Nature" Show
May 29 —July 18, 2004 at the Kerry Wood Nature Centre, 6300 - 45 Avenue Red Deer,Alberta, Tel: (403) 346-2010 or ralspach@telusplanet.net. Work will reflect the theme
"Living Skies".
There's Something About A Fat Quarter
Presented by the St. Albert Quilters' Guild in Honour of their
25th Year. April 6— May 1, 2005 at Profiles Public Art Calle!y, 19 Perron street. st Albert . (780) 460-4310
Fiberart International 2004
This is the 18th juried biennial produced exhibition by the fiberarts Guild of Pittsburgh and will feature work by 48 artists. On display between April 3 and August 15, 2994 at two venues; the Pittsburgh Centre for the Arts (PAC) and the Society for
Contemporary Craft (SCC) the exhibition will showcase the
trends and innovations of all facets of the fiber medium. wwafiberartinternational.com
The AUCC awards overseas scholarships to Canadian citizens for
undergraduate or post-graduate studies including crafts Send
Northern Lights
Fashion show at Quilt Canada 2004 held in May 2004. For info visit www.canacfianquilter.com/quiltcanada2004.htm
Furniture Society Quick Bites
The Furniture Society presents, "Curv-iture• a juried exhibition
which opens on June 10, 2004 at the Savannah College Of Art and Design (Savannah, GA) in conjunction with the Furniture 2004 conference. Web: mvw.furnituresociety.org
ArtsHab Studio Gallery - Edmonton
ArtsHab is a uniquelive/workhousingunitfor Edmontonartist. The artists have now turned the hallways into a studio gallery
and are open every Thursday evening from 5 —8 pm. Buy direct-
ly from the artists involved, get a peek into the studios come out and share some fun. For more information contact Jeff Collins @
(780) 439-9532 or Tm Rechner@ (780) 423-2969
GRANTS/AWARDS
20 slidesof 20 original works ContactAUCC, Awards Division, 151 Slater street, Ottawa, ON KIP 5N1, Phone: (613)563-1236
The Commonwealth Arts & Crafts Awards
Opportunities for ten artists and craftspeople to explore their skills in an international context. This award helps winners travel
to anotherCommonwealthcountryto work with otherartists
Visit: www.comrnonwealthfoundation.corn for details
The Craft Studio at Harbourfront Centre —Artist in Residence program
Deadline is ongoing. Openings for recent graduates in hot glass metal, ceramics and textiles Contact: The Craft Studio at Toronto, ON, Tel.•(416) Harbourfront Centre, 235 Queens Quay 973-4963, rmegan@harbourfronton.ca or wwwharbourfronton.ca
More Grant Opportunities grant programs available.
Grants and Awards.
wwwalbertacraft.abca/pageshnfo/grantshndex.htm
Travel Grants. Applicants may apply for Travel Grants at any time, once per fiscal year (1 April to 31 March). The Canada Council
must, however, receive these applications at least one month
before applicants' date of departure. Other grants are available
including Project Grants —Craft. For details call toll-free at 1-
800-263-5588, ext. 5269 or visit vmw.canadacouncil.ca Project Grants for Individuals: Deadlines February 15 and September 1 5 ea ch yea r. Web: httpJ/mvw.cd.goua bca /
901 Standard Life Centre, 10405 Jasper Avenue, Edmonton, AB
T5J 4R7 Reception: (780) 427-9968 Fax: (780) 422-9132
International Career Development Grant
Art and cultural Industries Promotion Division, Department Of
Foreign Affairs: Airfare, accommodations, and per diem grant to help upcoming artists launch international careers and develop market potential by exhibition in a foreign commercial gallery.
Amount up to 95,000. Info: Department of Foreign Affairs, Ottawa, (613) 992-5259 or email: yvespepin@dfait-maeci.gc.ca
Canadian Heritage Funding for Arts and Cultural Exporters
A new 3-year pilot program called Trade Routes provides funding for export preparedness and international market development. Info: Margaret Skok, Director, Trade & Investment Development,
(819) 953-5316,
www.pch.gc.calprogs/ac-ca/progs/rc-trnndex_e.cfm
Assists talented aboriginal artists with financial aid for education and training in the arts, including crafts. Contact Canadian
Native Arts Foundation, 70 Yorkville Ave„ Suite 33A Toronto ON, M6R 189 Phone: (416) 926-0775
Sheila Huge Mackay Foundation
The spirit of the grant is to provide seed money to as many visual artists and crafts people in Canada as possible. The annual deadline is June 1. Consideration will be given to each proposal
One of the aims of the Friends of Medalta Society is to provide educational programming at all levels, relative to the production of clay products. Invited guest artists along with paying participants work along side each Other in an environment that sup-
ports all aspects of the creative process. This is an opportunity to share studio space. experience thoughts and ideas while worki ng es s enti a l l y i ndependentl y. Dea dl i ne for a ppl i ca ti on i s Apri l
include GST and must be paid in full by May 24. All information and application forms are available on the Medalta Websitg
wawrnedalta.org
on its own merit of project, scope and budget. Grants not to
exceed 5500.00, For a complete application form contact: Sheila
QE 5V3 Phone:
Provides art consulting and art sourcing services to corporations other art consultants retailers and individual buyers/collectors
for residential and commercial settings They have been in business for 20 years and employ 16 art consultants to identify client's needs Art Holdings in interested in finding new Canadian artists Contact Leslie Palmer-Ross at 6210 Wayzata Boulevard, Minneapolis, MN 55416 Tel: (763)567-2205 e-mail: Ipr@arthold-
ings.com web: wwwartholdingscorn
CHIN Web site
been modified to make it more responsive to users needs. The
site offers an incredible variety of information easily accessed through new menu listings. In addition to the new menus are job
The Art Society Of Strathcona County
is seeking artists to hold evening and one & two day workshops.
All mediums welcome. Submit complete workshop information (including mediums, fees etc, and an artist bio to Karen Arnett,
do ASSC Workshop Coordinator, 57 Mission St. Sherwood Park,
AB T8A OV6or E-mail:ktamett@telusplanet.net
Canadian Heritage Funding for Arts and Cultural
Exporters
A new 3-year pilot program called Trade Routes provldes funding
for
preparednessand international market development.
Info: wvvvvpch.gc.ca or
Contact is: Margaret Skok
Building Successful Careers in Arts and Culture
Harcourt House Arts Centre, Artist in Residence Program Application Deadline May 31, 2004
The Cultural Human Resources Council has released a career
This program is open to artist who are Canadian residents working in any visual art media including: sculpture painting, printmaking, digital art, mixed media, photography, film and video.
This is a one year residency from September 1, 2004 •August 31 , 2005. The artist in residence will be selected on the basis of their application, their demonstrated commitment to art. their
disciplineand theirresumeand theirreferences
self-management guide for artists and cultural workers. Artists
and cultural workers developed the Art of Managing Your Career Guide to provlde perünent and practical information to better
manage artlStic careers.The gulde is available for 520 per copy pl us s hi ppi ng a nd ha ndl i ng cha rges E-ma i l : i nfo@cul tura l hrc.ca
Marketing Guide for Contemporary Fine Craft in the
United States
This definitive source of information, for craft artists interested in
For more information please contact: Christal Pshyk,
Executive DirectorTel: (780) 426-4180, %ww.harcourthouseabca or harcourt@telusplanetnet
entering LIS markets or expanding their US exposure, features 30 pages Of current advice on dealing Wlth Amencan markets, and
profiles of about 140 American craft galleries that are interested
in carryingCanadianwork Thisguide is availableto Canadians
Seasonal Art Gallery in Saskatchewan For Sale
Building housing seasonal art gallery at Manitou Beach, Saskatchewan. Currently operated from mid June to mid onto the main beach. Land is leased from the village. To inquire contact Lynne Bowland in New Brunswick (506)747-2009 or at glassrod@nbnet.nbca then after June 28 in Saskatchewan at
(306) 946-3141.
Northern Alberta Wood Carvers Association
NAWCS meets the second Wednesday Of the month at 7 p.m. September —June. Westmount Junior High School, Room 1 1125 — 131 Street Edmonton. For club information call
Art Holdings —Minneapolis. MN
i ta ge orga ni za ti ons . Vi s i t mywchi n.gcca
September. The building is approximately 440 sq ft and backs
Canadian Native Arts Foundation
America. Awards in all hand spun, hand made classes Grand prize 5300. For more information contact Linda Wendelboe (403) 638-3912 agm@fibreworksfarm.comor Kathy Baker (403) 946-3943 kgbaker@allsteam.net.You can also visit wwwshetland-sheep.org/
funding sources publications, government departments and her-
OPPORTUNITIES
16, 2004. Application Fee: S16.05, program Fee: $535. Fees
Alberta Foundationfor the Arts
be made from at least 75% Shetland fleece grown in North
postings, conference and training listings and direct links to
Medalta International Artists-in-residence Program 2004
Canada Council
Focus on Shetland Fibre Arts Competition
July 24, Olds College. Olds Alberta. Open Entry:all entries must
Canadian Hentage Information Network (CHIN) Web site has
Visit the Alberta Craft Council web site for more information on
T/sit the Alberta CraftCouncil web site for a complete listing of grants, awards and scholarships available to Alberta craft artists, mnv.albertacraft.ab.ca. Follow the Info link and then hit on
Mackay Dick, 3107 Rothesay Rd. Rothesay, (506) 847-5322 Fax: (506) 849 1881
Association of Universities and Colleges of Canada — Study Craft Overseas
Dave Eisenbeis (780) 467-6093 or Jack Wallace (780) 462079. http://home.ecn.abca/-nawca
only. Access the guide from the ACC home page (www.albertacraftabca), A hardbound copy is also available by calling Ottawa at I •800-267-8376 and select •publications" from the phone menu.
The Metalphoric Association Of Metal Artists - Calgary
The MetalphoricAssociation of Metal Artists has brought togethe
er a group of artists, ranging from fashion designers, jewelers to sculptors all working with traditional and contemporary metal working techniques Interests outside of Jewellery making have lead the artists down different career paths within the semi-precious and precious metals as mentioned before, fashion design•
ers jewellers and sculptors Contact Karen Bahr •the Rocklady• at (403) 568-0928 home/studio for information about the group and their activities.
Artists on the Wards - University Of Alberta Hospital Edmonton
Wanted: Skilled Visual Artists,'Writersfor the University Hospitals' Artist on the Wards Program. Volunteer 3 hours'week to bnng creative activities to the bedside. Contact: Nola Schwabenbauet Coordinator The Friends of University Hospital Tel: (780) 407,
8428 Fax: (780) 407-74m
SPRING 200Å • ALBERTA CRAFT MAGAZINE i
15
GLASS ART
CALL FOR ENTRY 18th ANNUAL
(Pcraft
STUDIO
10050-81Ave Edmonton,AB T6E IW8
Phone: 1-780-989-3114,Toll Free: 1-866-989-3114.
Email: info@artglassstudio.ca, Web: vwm.artglassstudio.ca
WE OFFER
Classes In:
NOVEMBER 18 - 21, 2004
Fusing • Slumping • Stained Glass • Beadmaking • Stepping Stones • Mosaics
Classes For:
Adults • Children
Telus Convention Centre
Calgary, Alberta 210 High Quality Artisans
Customized Workshops for:
Parties • School • Organization • Individuals
Rental Time:
ART MARKET
Studio • Kiln We Sell: Glass • Tools • Equipment • Books • Paints
MARLENELONEY P.o. BOX 190 BARRIERE, B.C. VOE IEO
Custom Work • Repairs
PRODUCTIONS
For Fusing • Beadmaking • Stained Glass
We Do:
TEL:1-877-929-9933 or 250-672-2411 FAX: (250) 672-9517
Giftware:
Retail • Wholesale
www.artmarketonline.com
R era"
Working for the Working Artist
O
Materials
THEWORKS
• Tools
ART & DESIGN FESTIVAL
• Advice Support
Putting it all together THE PAINT
10516 Whyte Avenue,Edmonton,AB Tel: 4320240 Fax: 439-5447
Canada 1-800-363-0546
ca info@paintspot.ca
Downtown Edmonton June 25 - July 7, 2004
%eeptionäl
& in
call to enter The Works Art Market to find out more about vending opportunities call now 780.426.2122ext.225
www.theworks.ab.ca
S
at Red Deer College Series July —August, 2004 • On campus accomodation • World class instructors • Well equipped studios • Hands-on learning • Introduction to Champlevé Clay Enamelling - Paul Leathers • The Vitrified Print - Paul Scott • Woven Metal Baskets - Crys Harse • From Handle • PatchworkCopper Bowls: Built from Bits and Pieces - Crys Harse to Spout - Jim SteweForbes
Etzkorn
Wood and Carving
• Introductory and In termediate Glass Fusing — James Lavoie
• Classesin
glassblowing, • On The • Introduction to kiln casting, Surface - Kathryn Finnerty SusanBurwash Woodworking— fusing and • Cut and Paste:Functional Pottery Doug Haslam flameworking. Sarah Coote • Introduction to • Glass beadmaking classes • Screen Printing and Ceramics - Paul Marquetry • May —September Scott Ralph • Maiolica Colour Workshop - Matthias Book Arts Reichenbach DougHaslam Ostermann • InteractiveBooks • UnconventionalClay:Form and • Boxes, Little Boxes —Doug Haslarn Michael Jacobs Surface - Trudy Ellen Golley • Paper Marbelling • Antler Carving - Shane Wilson • WorkingSmall and Big: Exploring Sonja Idema • Intermediate to Advanced Caricature Clay Form Through Multiple Parts • Calligraphyfor Your Carving - Barry Bell Ying-Yueh Chuang • Beginner and Intermediate Caricature Unique Greeting Chnstinc Ahmad • Fire and Smoke:The Art Of Raku Card Designs Carving —Mike Ferry Steven Forbes Barbara Close • WestslopeCutthroat Trout - Jon Throwing and Altering - Meira • The Hidden Box - Reg Beatty 'Andy' Anderson Mathison • Carving a White-throated Sparrow - • A Cabinet of Curiosities - Reg Beatty • Surface Decoration: Sprigging in Buildingan AncientTome - Christine Harvey Welch Public - Andrew Tarrant Swainson's Hawk Ahmad • Piercing Gaze • Mold Making for Ceramics - Russell Bust - Cam Merkle We also have for 2004: Hackney • Training the Eye to See - Jim Lyons • Rubber Mold Making - Kent • Beginner Carving and Carving A Metal Anderson Walking Stick - David Kemp • Introductory • Knife Making - Ed Storch • Power Carving a Grey Whale and Jewellery • Craft BusinessTraining - Simon Mount - Dennis Drechsler Linda Chow Wroot • Half Size Spruce Grouse - Robert • Small-Scale • Knotted Pile: From Fiber to Fabric Bronze Casting SandraNoble—Goss Lavender Sara Lamb • An Introduction to Woodcarving - Paul Leathers • Classes in painting, drawing and Clark Selk • An Introduction to Weldingfor printmaking Artists - Bruce MacLeod and Robin • Stylized Wood Sculptures -J. • Series in Medicine Hat, July 19 - 23 Christopher White Hulburt
• Bronze Casting (10 days) - Ian Cook
• An Introduction to Gem Setting Linda Chow • Non-acid Etching for Jewellers,
Printmakers, and Artists - Sandra Noble-Goss
Glass
• Basic Stained Glass - Andrea son • Stained Glass - Design, Structure and Reinforcements- Andrea Simpson
Red Deer
Register online at http://extension.rdc.ab.ca Toll free 1-888-886-2787 To receive at Series, Hot Glass, Woodcarving, Medicine Hat brochures call 403-342-3516 oryendy.meeres@rdc.ab.ca Contact: Wendy Meeres, Visual Arts Coordinator, 403-342-3130
—ALBERT
tv-couyc
Taking Alberte Croft Home... to the World NEW & RENEWING MEMBERS Bothi,Bassanoe Welcome New Members Lynda Lynne Bowland, Lord's Cove,
Adeline Lerohl, Edmonton,Clay
Amy Andres, MedicineHat,
Betty Louden, Calgary,fibre
Larry Anderson, Clandonald, Antler Glass & Metal
Crossroads Market/Artspace, Calgary, All
Mark Bergner,Calgary,Leather, Wood, Sterling Silver
Connie Brisson,FortMcMurray,
Jewellery
Cindy Clarke & Jim Willett, Edmonton, Clay
Wendy Doughty/ Edmotnon,
Lillie Ells, Colinton, Clay Shirin Emmanuel, Edmonton, Clay Gladys Fleming, St. Paul, Clay
Ava Gilbertson/Calgary, Metal & Wood
Lena Gilje, Wernbley, fibre & Photography
pRoseanna Grantmyre, Sherwood Park, Metal & Mixed
iCONSEQUENCE
Jocelyn Henderson, Calgary, Metal & Mixed
MATERIAL
JUNE Il
Angela Hook, Calgary,Metal (wire/copper) & found objects
Tania Jeffrey, Holden,fibre Tanis Johnson, Calgary,Metal Catherine Langstaff, Calgary,fibre Pat LaPointe, Edmonton,Glass
13, 2004
Michael Lepatski, Edrnonton, Photographs & Digital Output
M. Glennie McKirdy, TurnerValley, Glass, Gourds & Pine Needles
Emily Parke-Koll, Calgary, fibre
Sharon Simmers Lethbridge,
Metal & Wood
Suzin Skyler Heim Calgary,Glass, Metal & Semi-Precious Stones
Lucia Sollecito, Calgary, fibre & Mixed Media
Michelle
Glass
Aaron Steinley, Empress,
Allan Lindoe, Edmonton, Wood
Stained & Leaded Glass Tracy Brown, Edmonton, Metal
Emil Bucharsky, Spruce Grove, Metal
Sharon Busby, Edmonton, Clay & Painting
Edmonton, fibre
Metal Jewellery
Katrina Chaytor,Calgary,Clay
Carleen MacKenzie, Edmonton,Clay
Judith Chorney, Spruce Grove, fibre
Ron Maunder, St. Albert, Metal Nana McKernan, Olds, Fibre & Clay
Barbara Cockrall, Edmonton Lorraine Cooper, Calgary,
Margaret Murray,Edmonton,Metal
Mixed Media
Cheryl Nekolaichuk, Edmonton
Shawn Cunningham, Edmonton,
Tammy Parks-Legge, Stony Plain, Clay Eric Pederson, St. Albert, Wood
Metal & Mixed Media
Miss Wendy Marion Davis, Edmonton, fibre
Pauline Pelletier, Cap Rouge,Clay
Darren James Petersen, Red Deer,
Dawn Detarando & Brian McArthur, Glass Red Deer, Clay
Dawna Dey Harrish, SherwoodPark, Fibre
John Elder, Edmonton,Clay
Oveda Design Studio, Edmonton, Acrylic Anna Rasmussen, Innisfail,Clay Ralph Reichenbach, Edmonton,Wood
Alain Favre, Red Deec Clay
Sharon Ritter, Edmonton,
Stained Glass & Beaded & fibre
Barbara Rocchio, Edmonton Sharon Rubuliak, ShenvoodPark,
Mixed Media Christine Eddyv Calgary, Wood & Mixed Media
JA Farr, Coaldale.Wood
Shirley Rimer, Red Deer, Clay
Ana Cristina Ferguson,Edmonton, fibre Painting & Printmaking Marlene Fitzgerald-Moore, Calgary,
Clay
Metal Trudy Gallagher,Fredericton, Mark Gibeau, Strathmore,Glass Michelle Gluza, Edmonton,
Arundel Silk, Calgary, Clay
Julian Smither, Edmonton Lori Sobkowich. Calgary,Glass
Roza Grabowska,Calgary,Metal
Judith Green, Pincher Creek, Clay
Barbara Starrenburg, Red Deer.
Vicki Hackl, Edmonton,fibre Ann Haessel, Calgary,fibre Theresa Hall, Edmonton,Clay Patricia Hartnagel, Edmonton,Clay
Mixed Media
Mary Sustrik, Edmonton,
Fibre & Beads Sylvia Teare, Calgary, Clay
Carol Hartwell, Stony Plain, Clay
Welcome back Renewing Members
Roseann Janzen, Carvel, Metal Grethe Jensen, Little Smoky, fibre
Clay
Wood & Mixed Media
more
Linda Thomas & Eric Koroluk, Edmonton,
Mary Ursuliak, Summerland,Clay Carol Voyt, Calgary.Clay Rob Wachowich, Edmonton Hugh Waller, Edmonton,Glass
Tracie Ward, Okotoks, Clay & Glass Vivian Wasiuta. Calgary, Clay Shona Wehm, Edmonton. fibre Jean Weller, Prince George, Fibre Arlene Westen, High River, fibre & Mixed Media Ken Wiancko, Spruce Grove Wood Andrea Wilson, Woodstock. Fibre
Neal Johnson, Lethbridge,Metal Lorna Johnson, Calgary Fort McMurray Bronwyn Jones, Lake Louise Edmonton Potters' Guild, Edmonton, Sanna Kaiser, Innisfail,fibre,
information
Medicine Hat, Clay
Johanne Aga-Dryden, Edmonton, fibre & Clay
contact Dyane Lee
Nancy Allen, Calgary,fibre Jackie Anderson, Calgary,Metal
at 342-3516 or
Ed Bamiling,Banff,Clay
check out http://extension.rdc.ab.ca
Valli Anderson, Calgary, Fibre
Don Bednar, Spruce Grove, Metal
SouthernAlberta Art Gallery, Lethbridge
Return Address:
fibre Perry Rydman, Edmonton,Wood Joan Sandham, Calgary.Clay
Ken Seitz, Strathmore, Glass & Tools
Paper & fibre
Fort McMurray Historical Society,
For
Handweavers Spinners & Dyers of AB, Edmonton,Fibre P & V Ponich, Edmonton
Karlis Poruks,Edmonton
Patricia Dickson, Edmonton,
Linda Hawke, Calgary,fibre Chris Hepburn, Edmonton,Metal Cindy Hoppe, Biggar;Fibre 'Will Truchon, Edmonton, Clay & Mixed Bonny Houston, Calgary,Glass Dianne Hove, Calgary,Clay Joan Irvin, Calgary,Metal
Medicine Hat Potters Association,
Don MacDougall, Balzac, Wayne Mackenzie, Edmontorv
Louise Szaszvari, Edmonton,Metal
Takeshi Yasuda
Lac La Biche, Native Crafts Metal & Wood
Carissa Cameron Matthews,
Leather & Wood
Teapot • Porcelain Height 15 cm
Native Arts & Culture Division,
Fibre Tanya Karpyshyn,Edmonton,
Bradley Keys, Calgary, Clay & Metal
Jane Kidd, Calgary,fibre
Marie Gordon& Jim Kindrake, Edmonton
Michele Kirchner. Edmonton, Kathryn Kristmanson, Tappen, Metal Jewellery
Sheep Creek Weavers, Calgary,Fibre Shelley Kudera, St. Albert.
Canvas. Leather, Metal & Wood
POST ES CANADA
CANADA
Alberta Craft Council
POST
10186-106 Street
Postage paci
Port payå
Addressed Admall
avec adresse
Edmonton, AB T5J 1 H4
Médlaposte
5075033