ALBERTA CRAFT. THE M
PUBLISHED QUARTERLY BY THE ALBERTA CRAFT COUNCIL
SUMMER2004 ISSUE
on
CREDITS ALBERTA CRAFT MAG
Greetings!
Alberta Craft Council Magazine is publishedquarterly
SubmissionDeadline
I read - a lot! Often a requirement and sometimes a delight, reading is an integral part of my job. From e-mails, articles, books, reports, web sites, I gather information and ideas about craft, about culture, about politics, about funding... SometimesI must read, simplyto reassuremyself that I'm "not missinganything important".OftenI read becauseI need informationor I need to know where it might be foundat some futuredate. OccasionallyI get to actuallyread about the creativity of craft!
Here are a few highlights from my reading, over
the pastmonth:
The SpringeditionOfArtichokehas severalgood articlesabout and relatedto fine craft,exploringthe question"Beauty,a lostart?"Artichokeis available at most good news stands or a www.artichoke.ca (Don't forgetthat Artichokeand RonsdalePress recentlypublished "Craft- Perceptionand Practice" an importantcollectionof essays and views about contemporarycraftin Canada. www.ronsdalepress.com)
any notionthat you or your students want to sell work in the US or Offthe continent, this will be a must read. "In the Wings"is the latest researchprojectby the AlbertaCulturalActionNetwork This is "a study of young cultureworkers. and their career development needs".Alsoa must read for peopleinvolved with cultureeducation,culturalgroupssuchas guilds, or just those planning culturecareers,it can be found at www.acan.ab.ca GalleriesWest(summer)has several good and picture-fullarticleson the theme "art vs craft:a fine debate". Sound familiar?GalleriesWestis available free at most public and commercialgalleriesor at www.galerieswest.ca
A lovelycatalogueaccompaniesthe current exhibitionOfJane Kidd's tapestriesin our LowerGallery. The 2004editions Ofthe "Van Dop Art Guide to Co-publishedby Jane and Stride Gallery(Calgary), BritishColumbia"is available.This is a comprehen- with an essayby Amy Gogartyand photos by John sive and colourfulguide to studios,shops and other Dean, this is a gem. How I wish the ACC could destinationsthroughoutOurneighbouringprovince. publishthis sort of tribute for a large number of Tollfree 1-888-981-9886 or www.art-bc.com Alberta'smost recognizedcraftartists.Contact Strideat 403-262-8507. "The Craft Factor"is the full-colourmagazineof the SaskatchewanCraft Council-It's always a great I've saved my best suggestionfor my last. read. And I envy the SCC'sabilityto publisha mag- Unfortunately,unless you have friends in Australia, azine Ofsuch quality- and cost. It too is availableat or plan to visit there, you may not be able to see these. But,I must tell you about them!The Craft good news stands or call 306-653-3616. and DesignCentre, in Canberra, publishesthe most 'The Crafts Report"is the Americanmagazine amazing assortmentOfdirectoriesand catalogues, about craft business practicesand trends. Although as part of what must be one Ofthe world's most tax,copyrightand marketinginformationis oftena sophisticatedcraftpromotioncampaigns.Amazing bit to "American", its stilla good sourceof commer- work, great photos and design, fine printing, all cial ideas. The June editionhas another series Of contributeto a stunning presentationof the best Of articlesabout craft in Canada. Australianfine craft. 000, Oh,ah! The final versionOfthe Canadian Crafts Federation'sTrofile and DevelopmentStrategyfor Craft in Canada" has been released.It is a thorough review Ofthe economicstate of craft, with lotsof ALBERTA CRAFT About the Cover useful informationabout incomes,education,career opportunities,trends, etc. This is not light summer La Mujer Indigena fare,but it providesa wide range of detailsand by Marlene Guenther 2003 trends that can be usefulto studentsplanningtheir careers, instructors,professionalsreassessingtheir cotton, hand dyed careers, schocjlsand guilds planning their futures.. screen printing www.canadiancraftsfederation.ca This is available at For more information on The next publicationOfthe Canadian Crafts Marlene and her work see page 9 Federation,availableat the same site soon, is the *'CraftInternationalTrade ActionPlan". If you have
the Fa l l2004 Is s ue•Augus t25,
Alberta Craft Magazine makes every effort ro ensure ihe accuracy Of the informatim contained herein, but liabilityIn Cases of Ot changing conditions. Vesu/tOf
infonnation contained in the Alberta Craft
"M agazine there from.Drethe responsibfrtyof be parties involvedand not of me A/trrta Craft Council We welcome soned lettersto the editor.but we reserve
right to edit for grammar. taste and length.
Al berta Cra ft Counci lOffi ce & Al bertaCra ft Ga l l ery: 0186-106th s treet Edmonton,AB Ca na da IH4
emberServic
Hours: Mon to fri.9amt05pm Tel: (780)4886611 OR
(100-362-7238)
Fa x: (780) 488-8855
rta Craft Gallery + Shop: H Ours
Monda ythrough Sa turda yfrtMn 10 am to S pm
(780) 488-5900 Executive Director
Tom Mcfa ll. ext 228
Adrni ni s tra ti on Ma na ger: Na nty St. Hi l a i reext 234 MemberServi ces : Joa nneHa mel ,ext 221 Cra ft Shop Coordi na tor: Al i Fl emi ngext. 232 Son,ext. 232 Cra ft Shop Sta ff El a i ne Ma ga zi ne& Web Si te: Jeff Col l i ns ext , 225
CraftCouncilis a not-for-profit organization ckdjcatedto develQ/ngAlbertacraftand the
craftindustry.
Board of Directors:
Cha i r.
Simon Wroot. Calgary
Vice Chair. Shona Wehm, Edmonton
Secretaß,-Treasurert Directors:
vacant 'ulie McDonald. Edmonton
l a mesLa voi e Edmonton
Debra Demers-Bryan, Edmon
Hea therForbes Gra ndePra i ri e
Tara Owen, Calgaty Carolyn Patterson, Calgary
Shi rl eyRi me',Red Deer
Evonne Smulders, Black Di Photography.
Mario Pietramala, Ehonton
Ma ga zi neEdi tor. Jeff Col l i ns Ma ga zi neDes i gn: Lime Design Inc, Edmonton
Membership:
For i nforma ti onon members hi p to the Al bertaCra ft Counci l Ca l l : (780) 4886611 or Tol l Freei n
Far
E-Mail;
Webs i te
Alberta CRAFT (1-800-362-7238) (780) 488-8855 a cc@a l berl a oa ft.a b.ca
albertacraft.abca
€öönton
council udmonton
Foundation fortheArts
Shop Talk
Shop Talk GAZINE
'Ibe new lower gallen/ has freed up more space upstairs which allows the Shop to show
offmembersworkin a cleanunclutteredmanner.
We celebrate our fourth year in our downtown Edmonton location with i the opening of our new Lower Level Gallery.
studio to visit with him and Liv Pedersenwho were making
plansfortheirexhibitioncoming
Julia Reimer and Tyler Rock demonstrate glass blowing techniques in their studio at
BlackDiamond
RobberyPrevention On another note, I attended
Rubbery Glference 2004, a public
workshop the EdmontonPolice Serviceshosted recently.Three hundred peoplefromhotels, restaurants,conveniencestores, drug stores, other retail outlets, nextday we headedforBlack packed ourselvesinto a conferDiamond to Julia Reimer and ence room at Fantasyland Hotel With this 2000sq. ft. addition, TylerRock'shome studio and to get tips on robbery prevenwe have expanded the Craft watcheda fabulousdemonstra- tion. We heard presentations GalleryShop by approximately tion.It wasmy firstopportunity from EdmontonPoliceService 700sq. ft. We are testing the to seea glassblowingdemonabout forensicvideoanalysis, watersand showcasinghigherstrationin person and it was CIYTED (Crime Prevention end work in a more gallery-like amazing. Wealso stopped by Design) throughEnvironmental setting.Weare now able to high- Terra Cotta Dudes to visit board and from John D. Moore,a vetlight eight to Ovelveartists at a memberEvonneSmuldersand eran policeofficerwho spent 16 time on a rotating basis. Not her husband Robert.It is impor- of his 31 years with the Spokane only have we expandedyour tant for us to see some Ofour PoliceDepartmentdesigning Shop, we continue to transform and implementingrobbery-trainmemberswork displayedin and work with the existing ingprogramsforhigh-risk other shops and a treat to see space. Some say that "a change Sucha fabulousgalleryas Terra employee groups. Mr. Moore's is as good as a rest" and since trainingmanual canbe found at Cotta Dudes. Although I am we choosenot to rest, we contin- originallyfrom southern www.armedrobbery.com. ue to change your Shop around Alberta, I had newerbeen to Bydefinition,a robberyis taking in order to highlight more of BlackDiamondbeforeand to see somethingby forceor with your work in an aesthetically such a cozy communitynestled threat. Most people associate pleasingmanner. into the foothillswas a delight. I robberieswith the useof a can seewhy thosewho livein Recently,Joanne (member servweapon.Althoughtypesof ices)and I had the opportunity that area find it so inspirational! weapons vary, many people do My goal is to utilize the to take a little "road trip", We not consider a fist to be a 2004/2005craft Map of Alberta weapon. Last year in Edmonton, went to Calgary to return a tapand makeas manystudiovisits 118robberiesoccurredwithout estry that Jane Kidd sold to the this year as I can. GlenbowMuseumand made a the use of a weapon. I don't couple of stops while there. We need to tell you that if you are stopped at Gordon Galenza's faced with a robbery,just comat the end of August. We also had a good visit with Martha Henry at her studio. It is always exciting to see what is on the horizon for our members! The
SUMMER 2004
ply and let it be done with.
Usuallythe robberis lookingfor
money and he will leave without incidentonceyou hand it over. Robberiestake an average 53 seconds from the time the robber
walksintoyourplaceOfbusi-
ness to the time he leaves. I say "he" becausevery few robberies are committedby a woman on her own. It is almost impossibleto prevent a crime fromoccurring because there are so many vari— ables. However,there are steps you can take to prevent being a target. First,always have two staffmembersworking. Have an alarm system and if you use video surveillancemake sure it is in good workingorder and that you have a permanent recordwhether it be Onvideotape or digitally.Keep your work environment well lit both indoorsand outsideespecially in parkingareas.Lastly,conduct regular risk assessments to recognizeproblem areas such as dark corners,hidden areas, or brokensafetyequipment.
In Edmonton. you mayqualify
for a free assessment by the city policethrough the CITED program. - Ali Fleming
ALBERTA CRAFV MAGAZINE
Profiles
o
This edition Of Profiles features four Alberta Craft Council memberswho teach
Ond pass On their skills to new students at the Alberta College Of Art and Design in Calgary. For more information on the college and the programs they have to offer
visit ww-,v.acad.ab.ca
Tyler Rock - Black Diamond, AB Glass Department, ACAD
Tylerand his wife and fellowglass artist,Julia
Reimer,have relocatedtheir homeand studio, It wasn't until TylerRockenrolledin art college FirebrandGlassWorks,to BlackDiamond just that glasscaughthis fullattention.He was south of Calgary. In 2002, Tyler and Julia were intriguedby this intenselyphysicaland focused the "Artistsin Residence"at the Studioat the artistic pursuit. He graduated with distinction CorningMuseumof Glassin Corning,New from the glass program at the AlbertaCollege York.The couplehas alsoworkedcollaboraof Art and Designin 1989and returnedin 1995, tivelyin studiosin Canada,the UnitedStates but this time as an instructor.He alsoinstructs and France.Most recentlyTylerand Julia at Series,the summerarts programat Red have becomeco-presidentsof the GlassArt Deer College. Associationof Canada (CAAC). Tylerfinds teaching to be rewardingnot only in the factthat he can watchand nurturethe
Lidded Vesselby TYler Rock Blown Glass
development of a new generation of glass
artistsbut alsobecauseOfthe richidea-generating atmospherethat keeps the art formnew and exciting.He tellsus that instructing at ACADcombinesall aspectsof the art form, fromhot glassmanipulationand decoration, casting, developmentof personaldesign and conceptsas well as all of the technicalaspects and professionalconcerns.Tyleris motivated everyday by the activeatmospherein the college - the continual problemsolvingprocess that he witnessesdaily,which manifests itself in the art workof the students.
Joan Irvin - Calgary, AB The recentrecipientof an AlbertaFoundationfor the Joan Irvin is an interdisciplinaryartist, flamenArts grant, Joan'scurrent co aficionadoand makerof narrativejewellery. focus is on a body of mixed Originallytrainedas a ceramicartist,she grad- media entitled'"Musing on uated fromthe Universityof Calgarywitha my FirstNine Lives" BFAin 1982and completedthe BanffCentre's VisualArts AdvancedStudioProgramin 1984. Work is currently availablé at GaleriePetitein Calgar:yp: She subsequentlyworkedas a studioartist, and willsoonbe featured teacherand technicianand spent a decadeas supervisorof Calgary'sWildflowerArts Centre. at ObjectDesignWearable Art Galleryon Granville In 1999,Joan registeredin the Jewellery& Island. MetalsProgramat ACAD,where she won many awards prior to graduatingwithdistinc- Contact: joan.irvin@acadnet.ca or lion in the spring of 2002.Currently,Joan 403-277-9632 dividesher timebetweenher own studioand ACADwhere she teachespart-time.Afterthirty years of teaching,everythingfromworkshops Tea Time Bracelet by Joan Irvin Jewelleryand Metals Department, ACAD
in flamenco dance, ceramics, jewellery and
metalsshe happily admits that "l teachbecause I reallyenjoy it! Teachingenergizes me and providesa nice balanceto the longhoursof solitudeI spend in my own studio" Her metalworkshave been exhibitedin Alberta.the UnitedStates,Europeand Japan. 2
I ALBERTA
MAGAZINE • SUMMER
SterlingSilver
B a eoeaa
o
Profiles NarrativePin by
SarabethCarnat SterlingSilver
Sarabeth Carnat —Calgary, AB Jewelleryand MetalsDepartment,ACAD
Sarabethbecameenamouredwithjewellery, afterstudyingin TorontounderAndrewFusel, one Ofthe foundersOfthe MetalArtsGuild. This new passionlead her to Sheridan CollegeSchoolof Designfollowedby a year studyingin Jerusalemat the Bezalel Academy OfArt &
Design.Upon finishingher
studies,Sarabethset up her studioand beganher practiceas an artist, goldsmith and designer.
É
A few years later she
Sarabethtalksabouthere desireto teach: "Earlyin my teachingcareerI realizedthat if I continuedteachingI wouldhave students with major talentand I had to decideto openly share my knowledge and skill. A combination
of my passionfor the fieldof Art Jewelleryand my appreciationand commitment to personal
developmentare the majorreasonswhy I teach. Teachingalsorequiresquick thinking, multitasking and an understanding of learningand people.I find it very rewardingto share in a creativeenvironmentwithmanytalented colleaguesand students."
returnedto her townOfCalgarywith her husbandand newbornson.Sarabeth joinedthe staffat the
Sarabeth'sworkcanbe foundat the Alberta CraftCouncilGalleryShopin Edmonton,
and Designin 1980.
Tel: 403-284-7624
Alberta College of Art
Art Spacein Calgary, Influx in Calgary and Metallurgyin Toronto.
Contact:email:carnats@telus.net
Charles Lewton-Brain —Calgary, AB Jewellery and Metals Department, ACAD
CharlesLewton-Brain studied and workedin Europeand NorthAmerica.He lectures,and has published internationally, on his researchintorapid manipulationOfmetaland its surfaceforartisticand manufacturingpurposes.He is Headof theJewellery/ MetalsProgramat ACAD.and writes,exhibits and worksfromhis studioin Calgary. CharlesthinksOfhimselfas an artistwho worksprimarilyin the contextof bodyornament.He is foundingpartner in the world's largestfree educationalweb site for jewellers. www.ganoksin.com. In his workhe plays with the tensionbetweennatureand structureallowing the materialsto do the work,deliberately buildingin somerandomness,lettingnature show,in the work,a beautythat cannoteasily be reachedby forcingform onto the materials. The marks of processbecomecompositional elements.Charlestells us, "'Thepoignancyof
humanslayingstructureuponthe universe,of our need to createand seekpattern,intrigues me and is part of my work." Besidesthe ACCshop in Edmonton you can findCharles'workat LaFreniereand Paiin . Ottawa,GalerieNoelin Montreal,Metal+ in Winnipegand Willock/Saxin WatertonLakes. Contact: CharlesLewton-Brain/Brain Press Box1624,Ste M Calgary,Alberta,T2P21-7 Canada Tel: 403-263-3955
Fax: 403-283-9053
Email:brainnet@telus.net informationsite His Collaborative to benefitthe worlds'jewellers: http://wvvw.ganoksin.com/ Gallery page at:
http://www.ganoksin.com/brain/ gallery.htm
Cage Bracelet by
CharlesLewton-Brain Gold
SUMMER2004 • ALBERTACRAFTMAGAZINE
3
STRETCHING IT
New works in wood and mixed media by Gordon Galenza and recenttapestry weavings by Liv Pedersen August21, 2004 - October9, 2004
Zig and Zagby GordonGalenza
Artists' Reception: Saturday, August 21, 2004.2:00 to 4:00 pm Liv's playful wall hangings are a delightful backdrop to Gordon's capricious wood pieces. Both of these mediums invite the viewer to touch and feel the sensual qualities of fiber and wood. The experience is further enhanced by the vibrant
47 cm W x 177 cm H x 19 cm D Materials: Jatoba, Wenge.
Ebonised Jatoba, Lacquer Finish Below:
Gordon Galenza at work in his Studio
colors utilized by both artists. Liv's textural pieces play on the theme of traveling as a metaphor to the journey of life, complete with cartoonish cars that navigate a colorful landscape. Gordon's innovative pieces are also functional, giving Storage,display and furnishings a fresh new twist.
Bothartists combinehumor with a fine sense of design and craftsmanshipin their work. Liv is a graduate in painting from ACAD and works out of her home studio in Calgary, AB.
v.vr
Gordon is a self-taught artist, craftsman and designer who works at his studio in Calgary,AB. Lio Pedersen at work in her hame studio
Tapestry weaving by Liv Pedersen
4
CRAFT MAC,AZ'NE
SUMMER 2004
DiscoveryGallery Healing with Fibre
Focus on Fibre Art Association' 4th Biennial Exhibition and Competition Discovery Gallery July 10 through August 14, 2004
Opening Reception: Saturday July 10, 1:00 to 3:00 p.m.
Healing with Fibre is the 4th biennial exhibition and competition by Edmonton'sFocus on Fibre Art Association (FFAA). The 46 pieces in the show include samples of traditional rug hooking, primitive rugs, quilting, needlework, textile design, hand knitting and weaving.
The realizationof the Focus on FibreArt Associationcame as a direct result of the Edmonton KlondikeDays Association's eliminationof the craft componentto their fair in 1996.Soon after it was apparent the Klondike Days Fair would no longer have a competitionand exhibitionof fibre art Armande Jones, Shirley Myroniuk, Margaret Richards and Mary Sustrik began to hold informal meeting to discuss the possibility of creating an association that would address this missing component. A meeting with membersfrom the Edmonton TraditionalRug HookersGuild, the Edmonton & District Quilters Guild, the EdmontonNeedlecraftGuild, the EdmontonWeaversGuild, the Departmentof Human Ecology and the University of Alberta and the Alberta Craft Council encouraged the ladies to go ahead with their plans to incorporate. In 1998 the Focus on FibreArt Association was born. For more information on the FFAAand to find out how you can become a member and enter future competitions and shows call Shirley Myroniuk in Edmonton at 780-469-1783, email mistyc@shaw.ca or ArmandeJonesin Edmonton at 780-489-3603.
The Focus on Fibre Art Association exists to provide an opportunity for fibre artists to: test their ability and progress in their chosen field; receive feedback from respected teachers/judges; and exhibit and sell their art to the public. To accomplish this the FFAAsponsors a biennial competition and show encompassing traditionalrug hooking, quilting, needlework,textile design, hand knitting and weaving. According to their members, there is no other competition like this in Canada. This year's show drew 83 entries from across Canada with two from the U.S.A.46 of them were selectedto move on to the second round of judging. The ACC will display all 46 entries in our new LowerGallery,The FFAAjurors awarded Il first place ribbons and 10 second place ribbons,
Gecko Go Round
By Laurie Wiles
44 diameter
2nd place winner in Primitive Rugs —Original category Top:
Cut Flowers —10 cents a bunch
By Edith Quinn 33"x 19" 2nd place winner i" quilting category Right:
Healing Tree By Vickie Newington 21 "x 25.5"
Best of Show Winner
SUMMER 200 a
ALBERTA CRAFT
5
Heady Stuff for the Average Craftsperson? by Tara Ovven
ary adaptations —regardless of environment. Many of our behaviors have been genetically programmed into our brains and these behaviors"constitutehuman nature". The idea of "bodily intelligence" is greatly connected to craft. " -the impulse toward physical mastery is both intelligent and innate". i' A potter who learns to throw with great skill is exercising a biological aspect of mind.. Skilledwork is, in fact,a manifestation of intelligence. The hierarchy promoted by this culture's emphasis on verbal and
mathematical intelligenceis undermined..
because privileging one aspect of the biolog-
icalmind overanotheris plainlyarbitrary,
From left to right: Dee Fontans, Bruce Metcalf, Sarabeth Carnat and Charles Lewton-Brain
Bruce Metcalf came to the
Alberta College of Art and Design as a visiting artist.
He presented his lecture entitled "Evolutionary Biology and Its Implications for Craft" on March 5th, 2004. Bruce writes regularly for Metalsmith magazine.
He is a metalsmithand art critic. I was very interested in hearing what Bruce Metcalfhad to say about craft. He is an excellent writer with a keen wit. I was fasci-
nated by the implicationsof his thesisabout biologicalimperativesand howthisrelates to making craft.
He first postulatesthat humansdo indeed demonstratean '"innatehumannature" whereinthehumanmind exhibitspan-culturalmentalstructures.Brucemaintainsthat there is substantial research for this theory.
It fliesin the faceof the StandardSocial ScienceModel,however, which assertsthat the human psyche is molded entirely by surrounding culture.This human nature arises
from behavior informed by genetic imperatives.Evolutionarybiology has resultedin human beings who all share these evolution6
nothing more that a social construction. ..lt
alsounderminesanyattemptto dismiss
craft due to an ostensiblelack of intelligence —which is the basis of an argument often
encounteredin the art academy."
Not only are we genetically hard-wired to
creating,Brucegoeson to talk aboutthat vital instrument:the hand.Justas the brain
developed according to these biological imperatives, the hand developed as more and more complex tasks were assigned to it. Language use, cognition and hand develop-
mentall evolvedinterdependently."It's entirely possibleto regard the hand as a seamlessextensionof the brain, without any meaningfuldistinctionbetweenmind and body."Ahh,and there's the rub.Bruce comes to a key point of his thesis.
"It's obviousthat the hand - part of our innate human nature, and composed of mind as much as of body —is privileged in craft. Everybody who practices a craft knows this intimately.Eachcraftsperson remembers the first time they put their
handson clay,fiber,metal,woodor glass and pushed it around. ..the work [ofcraft]
conforms to a pre-existing complex of latent
abilitiesand her innatemixof intelligences finally finds a means of expression."
As if these thoughts weren't enough to ruminate about for awhile, Brucetakes us one step deeper.His first two assertionslead him to a third. He proposes that there is a moral component also rooted in human nature and that some of the values in craft are highly moral.
I ALBERTACRAFTMAGAZINE • SUMMER2004
Bruce again offers scientific evidence from a number of scholars that suggests that a sense of morality may also be part of the biological mind. Certain moral tendencies may be part of our genetic makeup. The human nature that he has alreadyestab-
lishedin this thesisis the groundspringof
our moral instinct. This sense of morality should not be confused with religious beliefs. He believes that the morality of which he speaks is one dependant on human conditions in the world, not as a result of the word of a higher power.Some moral universals seem to exist, his evidence suggests. Bruce quotes Robert Q. Wilson's book "The Moral Sense".Wilsonproposes 4 basic moral sentiments. Sympathy, SelfControl, Fairness and Duty. To put it extremely simply: Sympathy is "being affected by the feelings and experiences of others"; Self-Controlis "manifested in moderation and prudence" but is also in the ability to master skills; Fairness is just and propor-
tionatedistribution;Duty "governsthe business of helping", or is roughly equivalentto conscience.
Bruceembracesthese ideas about morality in terms of craft.He statesthat craft has
alwayshad a moralcomponentin thatmuch
about craft is "guided by an ethic of helping". Many groups, schools and guilds were establishedwith mutual-aidin mind,with an air of cooperation.Togo further,craft objects—especially those designed to be functional - embody sympathy. Traces of the maker are left in the object,they embody the maker so that the peoplewho look at the craft see the "object as a symbol of human presence".This human presenceis the embodimentof the sympatheticgesture.Not onlydoes the makercrafttheirobjectwith the user of that objectin mind, the user has an aestheticexperiencethanks to the maker. "Themakerof usefulcraft—in recreatingher own pleasures for others —is performing an act of sympathy. The craft Objectembodies a
moralact."
Heady stuff for the average craftsperson. It was a fascinating lecture Which left the audience much to think upon. It was very nice to meet Bruce—one of the most activeand (at
times)controversialthinkersin our field. Thanks to Brucefor coming to visit.
Passion That's what the four individu-
als who are opening the new Influx Jewellery Gallery have in common. Not only a passion for expression in their
JEWELLERY GALLERY Herb, Shonaand Devonhad met initiallyat the Kootenay School of the Arts
Cooperative where they developed a close connection. While Shona and Herb moved to Calgary to attend the Alberta College Of Art and Design and to take a new job (respectively), Devon came to Calgary to complete her education at ACAD as well. Both Shona and Devon worked closelywith Kari, at ACAD,on various projectsand were studio roommates. Their closeness came about as a result of a respect for each
chosen medium, but a passion to share this artistic expression other's artwork,comparableeducationand with others, and to establish experiences and a similar work ethic. They another point on the metal had oftentalkedaboutputtingsomething together —a cooperative perhaps, or arts nebuork regionally and arrange a group show. It was fortuitous timing that provided the spark Kari internationally. Devon Clark, Shona Rae, Herb Sawatzky and Kari Woo have joined forces to open InFlux Jewellery Gallery in the exciting new ArtCentral building in downtown Calgary.
I met with these fourartists recentlyto ask them about how they had come together
and what motivatedthem to open their
own gallery. I wondered how they thought this new gallery would fit into the current arts scene and where they hoped to take it.
Although they share a common vision, this
is quitea diversegroupof individuals. DevonClarkis a youngemergingartist
who recently completed her BFAin 2002. She has already received recognition for her
distinctaestheticand high qualityof work. Shona Rae had spent nearly 30 years as a ceramist before she discovered the wonderful clay-like qualities of metal and never
lookedback.Shona,too, recentlyreceived her BFAin 2000and has won numerous awards and notice for her sculptural art jewellery internationally.Herb Sawatzky graduated from the Kootenay Schoolof the Arts Cooperativein 1999and has been
working as a furniture designer, as well as maintaining his studio and design practice. Kari Woo receivedher BFAin 2003but had been designing and producing work in the
metals field since1993.Shehas had work
shown internationally and has been successfulas an independent jewellery design-
receiveda call fromRobMabeeabout the new ArtCentral location being established in a renovatedbuildingin downtown
Calgary. ArtCentral was offering studio space to artists, retail space for galleries and
proposingto becomethe axisof the visual
jewellery. When asked they mentioned about 5 or 6 spaces throughout Canada that showcase metal work as fine craft in a highend setting. They felt that there was not
only roomin the marketfor lnFluxbut that Canadians are on the cusp of increased interest in adornment and fashion. As the interestin handmadeclothingincreases,the trend in adornmenthas taken an upswing as well. Canadians are slowly starting to support their own artists and craftspeople. As they head into their September opening the project has gone rather smoothly with no big obstaclesand plenty of positive
responsefrommembersof the arts community. Not only did these 4 people come together through similar interests, passion about their work, and personal drive, they've felt fostered by the support, honesty and positivity of the larger metals and arts communities. Calgary has a burgeon-
ing communitythat doesn't sufferfrom a
crushing competitiveness. The reason, as Devon pointed out, is that many artists are in the same situation. There is a derth of places to show your work—especiallymetal work that is new, innovative, conceptual and avant garde.
arts scene in Calgary as part of the Galleries District.This tempting offer stuck with Kari and when she discussedit with the other 3 while each participated in a show that week it seemedlike an opportunitynot to be passed up. There was definitely a synInFlux hopes to be able to educate the pubchronicity of events. This type of conversalic about the valueof craft,create a broader tion has happenedmany timesbefore— knowledge base about jewellery and metbetweenthis group of peopleand with als, and promotethe strongworkof local many other groups of artists. They found emerging and established artists. This that they were each in a place in their lives group plans to participate in traveling and careers where it could really happen. shows, develop a strong Canadian collecTheysat down together,talked it out, tors base, and become a locationthat reprefreaked out a little bit and finally it just sents craft for this area not only regionally gelled.The flurry of ideas had snowballed and nationally but internationally as well. into an opportunity. They plan to establishthemselvesas a hub
Each of them had come to realize on their own that thereare fairlylimitedexhibition and retail spacesfor innovativemetal art
for the metalarts and finecraftscommunity, through discourse, dialogue, events.
happenings,exhibitions,lectures,demonstrationsand educationaland promotional publications. Influx has been developed as a space that will showcase strong design and technique while creating awareness about why these crafted objects have such
value.
Tara Owen
er,mixedmediaartistand instructor.
Left to Right: Devon Clark. Shona Rae, Herb Sawatzky and Kari v-voo. Photograph by Erin VVa/lacc
SUMMER2004 • ALBERTACRAFT MAGAZINE
7
Translations
July 10 — September 25, 2004
An Exploration of Fine Craft by New Immigrants Opening Reception: Saturday, July 10, 1:00 to 3:00 p.m.
Translations:An Exploration of Fine Craft by New Immigrantsis the Alberta Craft
Council's first attempt at seeking out the fine craft practices of our new Canadians. When we put out the call for artists we really had no idea what to expect. at we hoped for was that work would shed light on some of the different traditions and customs of some of the many cultures that contributeto Alberta's mosaic.While this show is by no means a survey of craft made in Alberta by its immigrantpopulation it does provide us with many personal stories of a few of the individuals who have left their country of origin to make Canada their new home. Here are four of those stories:
Ihey found a Lithuanianfarmer willingto implicate20of his
German-speaking neighbours. From farm to farm the
away 21innocentpeople.Byevening 19men and two wornal were hanged and buried near the hanging tree. Their jackeS and were left hanging helter-skelterall over the træ and on. Of the 21 people hanged, 19 were related to both of my grandparents. The blue and white leavs attached to the border on the leftand top of the artwork my 19 hanged relatives.The 21 leaves looselyattached to the centre træ coats left hanging on the tree for all to see. The large and smallglas beads the many tears shed by the family members of the dead.
The majorelement of the work is reminiscentof a "hanging træ", and the referenceto the victimsis evident. I began the work as a tribute to my family's experiencesbut now I feel that it applies to all victims of atrocities.
Ilse Anysas-Salkauskas'
story quilt "Singing the Blues" speaks about a horrificevent that occurred at the start of WW1 to her family in Lithuania. She made this story quilt to both honour those who gave their
lives and to remind future generationsof theirpast.This is the story in Ilse's own words: In the fall of 1914,at the beginning of WW1,RussiaoccupiedLithuania while it was at war with Germany. The war was not goingwell for the Russiansalong the LithuanianGerman border so the Czar sent his horseback-ridingCossacks to contrd the farmers that livedand flourished there. The Ccssacks were looking for
Denmark region of Jutland and this tapestry depicts the things that are close to her heart.
his German-speakingneighbourson the Lithuanianside of the border and accuse them of being spies.This would be sufficientto justifytheir elimination.
"We livedcloseto Lindholm Höje,a hill,where Viking less than 70years ago, cremationgraveyards were all covered in sand caused by big storms. Later excavations revealed 700stone settings,of which 138are positionedin the shape of ships. How exciting it was for us to see the place transformedinto a historicalsite...
people who would point a finger at
8
Liv Pederson is a tapestry weaver originally from Denmark who makesbrightly colouredand whimsicalhand woventapestrieson her primitiveloom.(see DiscoveryGallery on page 4 for more on Liv). "Home Coming", her piece in this exhibition, is a woven map of her homeland. In 2002 Liv travel back to the northern
ALBERTA CRAFT MAGAZINE • SUMMER200d
"30 Km further to the nothwest is the Atlantic Ocean. It is true that
cars drive on the hard packed sand beaches. It is a salty, windy place,
flying everywhere. In July and August we bathe in these waters, swimming is imp(N1ble of the wild waves. "Further inland grows the heather. Treasure hunting as a child I was luckyto find two flint arrowheadsthere from the StoneAge. '"MostChurchß are from the medieval age, often decorated inside with charming primitive frescoesnarrating stories from the bible—
Veryhistoricaland spiritual. ''*Ihistapestry depicts all the things I miss most about the old country. "
Maria (Zahra) Bathaie is a clay artist from Iran. Her work is rich with Persian influences. Two of the pieces she submitted are Symbols of the Sun. Maria tells us that the sun is one of the most important elements in Persian art. In her clay tablets the sun is illustrated in abstract form. Maria explains: "Sun, that is called MEHR in Persianlanguage is the symbol of kindness and profusion.In this land the sun is shining brightly in most of the days through the year. The symbol of sun in form of a cross (+)was one of the first figures that
_ WSW. \
Alibata by MarleneGuenther Spring2003
23" x35"
jusi, handdyed,
photo transfer hand embroidery
average Filipinoknows little about the ancient script,its use and its origin since the history of the Philippines has been taught from a Euro centric view.
"Filipinoancestorswrote poetry,song,prayers,letters and busi-
ness transactions using Alibata. The complete eradication of the Alibata by 17th century along with music, poetry, prayers and traditional customs was necessary for colonial Spain to "civilize" the indigenous population in the name of Christianity.Jose Rizal, Philippines national hero wrote:
Ang salitanati'yhuwad din sa iba na may alfabetoat sarilingletra na kayanawala'ydinatnanng sigwa
ang lunday sa lawa noong dakong um.
were used on Persianutensils. This figure, which has changed
't
I
shape in differentways during time, today is illustratedin form of SHAMSEH —the form of two squarescrcsing each other at 450 angel to form an 8 pointed star. In Symbol of the Sun #1 the crcs symbol for sun is locatedin the centre creatingfourpiecesaround it. This implies the role of sun in life.The four piecesrelate to the four basic elements of lifein Iranian philosophy: water, wind, earth and fire. Also the rotational movement of the long piecesaround the central circleillustrates the sunrays."
Marlene Guenther emigrated from the Philippines and continues to develop her skills as a textile artist to share her cultural history with others. "Alibata is an ancient writing system that was once used in the Philippines. The rediscovery of this lost art or writing style began only recently with the help of enthusiastic scholars of Philippine studies. The
In English translation: This language of ours is like any other, it once had an alphabet and its own letters that vanished as though a tempest had set upon a boat on a lake in a time now long gone.
"ToMy FellowChildren", Jose Rizal, 1869 "I chose to use Jusi as canvas for this piece as it is one of the many indigenous textilesof the Philippines.Jusi is traditionally woven with silk and banana fibers.It is hand dyed and distressed to mimic the look of burned paper —depicting the burning of the script by the Spanish friars. The Alibata characters are hand embroidered to reflect the embroidery skills Filipino women possess.Mothers and grandmothers teach hand embroidery to young girls. This art of fine embroidery is very much alive and present in the fashion industry as well as the small cottage industry in my homeland."
Translationsalso features Korean and Chinese pottery,Romanian Point Lace Tatting, and many other examples of fine craft, which tell stories and reveal insight into cultures from around the globe.
SUMMER200a • ALBERTACRAFT MAGAZINE I
9
o
Feature
Three Views of Through the Eye of a Needle: Stories from an Indian Desert
In 1999, when importer Charlotte Kwon spoke to women of the Kutch Mahila Vikas Sangathan (KMVS) co-operative about the "collector or museum quality" of their embroideries, the western concept of a museum show, not for sale, was strange to some. The idea of developingembroidered"art-frames"which would be a "traveling record" of these desert people evolved into a remarkable exhibition, 'Through the Eye of a Needle: Storiß of an Indian Desert.Created by KMVS and Maiwa Handprints Ltd., with the help of Pauline Thompson and staff of the Vancouver
Museum, the show opened in 2002 to critical acclaim. IhrouW1 the Eyeof a Nædle shows how embroidery is integrated into the daily lives of the Mutwa,DanethJat, HarijanMeghwar, Sodha Rajput, and Rabari people, and illustrates the history of their unique textile designs. The women traditionally embroidered for dowries, not unlike the "hope chest" concept found in Western Canada, but of far greater significanceto the status of a husband's family.In one now-outlawedtradition,a woman
BY RUTH ANDERSON DONOVAN,
ANNE HILL AND SUBADHRA RAI
JUNE2004
Embroidered garment "Churi" by Varadaba Harri Sumar from the
lat Tribe(Notethe necklinedesign, and the similar shapefilled in with stitches in the art frame).
Photography by Diego Samper
could not join her husband's family until she had finished sewing her dowry- sometimes at the age of forty. Embroidery on garments could be "read"—visual language, indicating a woman's lineage, birthplace, and aspects of her history, helpful in identifying a person's role and connectionsin a complex nomadic mix. Whilesome collectorembroideriesmaintain traditional patterns that "outlast the cloth they are stitched on", in the larger "art-frame" exhibition pieces, KMVS embroiderers enjoy new freedom to display skills, combining patterns and stitches they might no longer be allowed to do on clothing, or that would not typically be found together. They no longer wish to sell off heritage source material from their dowries. Dr. Subadhra Rai2has an interest in how women's work affects their health, and draws on her own legacy of what her Mom taught her of a woman's binding role in the Hindu family to explainthe contextfor the KMVSembroidery: "The exhibitionat the ProvincialMuseumon Kutchiembroideryis a beautifulillustrationof two conceptsfoundin SouthAsian culture— the continuationof the jajmanisystem and gender delineationof workand knowledge. "The jajmani is a socioeconomic framework where one's work and
skillscloselydefine one's socialstatus and culturalidentity.Skills and knowledgeare passed down fromgenerationto generation ensuringa culturalcontinuity.It also allowseach familyto createan economicniche for incomegeneration.At the same time, the jajmani frameworkis intimatelylinked to the caste system of India, Understandingall this is key to appreciatingthe socioculturaland economicissuessurroundingthe embroideryworkOfKutch women. 'W Because embroidery is Considered women's work, mothers begin
Art-Frame by Rahima Tai Nehal of the Jai tribal group
48 cm (19") x 46 cm ( 18") Framed with dupioni silk. ("Art-Framen influenced by gannent design - note that
opening where
a neck would be in a traditional dress has beenfilled with 'fitches),
Photographyby DiegoSamper
10
I ALBERTACRAFT MAGAZINE
SUMMER2004
teachingtheir daughters at a young age. Knowinghow to sew and embroiderreflectswell on the girl'smother,implyingthat the young womanis well trainedto handle her householdresponsibilities when she is married.In the SouthAsianContext,goodembroidery must be pleasingto the eye, containunusualdesigns,even stitches, and a 'clean'and neat under side. The latter is a sign Ofpatienceand skill
"Embroidery is an art used mainly to build girls' [women's dowry.
However,there is alsoan implicitunderstandingthat it couldbe used to earn an incomein dire economiccircurnstances.This is exactlywhat Kutchtribalwomenare doing. Froma SouthAsian perspective,their attempts to market their workis not unusual. They are simplyfulfillingtheir obligationsand duties."
Anne Hill is researchingcostumein traditionaldance with
Tibetan women in Calgary. She comments on Through the Eye of a Needle: Stories of an Indian Desert as a record Ofcurrent tex-
tile practice,an example of international cooperationin the rehabilitation of endangered textile arts: "The museumexhibitportrays the textilearts Ofdynamic livingcultureswhile supportingartisanscommittedto their art and craft,and celebratesthe uniquecross-culturalcollaborationbetween the KMVScooperativeand Maiwa,one of the biggestimportersand promoters Of its output.
'"Thewomen,throughKMVSCooperativein WesternIndia, were able to support themselveswith their exquisiteneedleworkduring a devastatingearthquakeofJanuary2001.MaiwaHandprints in Vancouvercommissionedthe Kutchi'sartworksand raised funds throughtextileauctions,helping the womenwork to sustaintheir familiesthroughthis disaster.Maiwahas developeda uniquerelationshipwith KMVS,advancingmoneyto the Cooperativefor commissionedpieceswhile the Cooperativedeterminesthe designs, deliveryschedule and fair compensation. Maiwaencourages the productionof detailedand elaboratework, as high-qualityartwork willcommandhigher pricesfor the women.The care taken in creating the embroideredartworksis refreshing,and countersthe trend of globalmass productionof textiles. "The eighteenhundred embroiderers,throughtheir cooperative, expressa culturewitha longhistoryand traditionin the textilearts. Their dedicationand developmentof traditionalembroideryarts givesdignityand value to what is oftendismissedas "decorative" or "women'swork".Wecan applaud both MaiwaHandprints, the KMVSCooperativeand the curatorsat the ProvincialMuseumsof BritishColumbiaand Albertafor enablingus to appreciatethis incredibledisplayof embroidery."
Ruth Anderson Donovan,in reviewing the show,was moved to reflecton changein her own life, and inspired to renewher practice as an artist, maker,and teacher of arts traditions: "The evocative embroidery and stories of the women of the Kutch cast a long stitch through the fabric of my own life, drawing together fragments of parallel experience. Living in rural Saskatchewan,with no electricity,water from a well, and the values of a small, close-knitfarm communityin the 1950's and '60's, I knew the importance of co-operativeventures and the satisfactionsOfhand-made inventiveness—but abandoned them. The introduction of American T.V.(andelectric lights!) followed by a move to the city,extended and altered small-town
boundariesand values,not so unlike the like thoseof Kutchi girls, watching Bollywoodmovies,who may wonder if their
''This exhibition made me appreciate that I do have a textile tra-
dition, howeverdevalued.The beautyOfthe motifs,and the
care that went into designing interpretive materials, made me slow down and look»stitch-by-stitch, at needle art that is a model for making fine craft in any discipline. A line from Hamijiri Jadeja's song in the catalogue encourages: "Keep your art in your hands; don't ever forget your art". This is vital, no matter how far back you have to go to touch source.
"It's time to finish smockingthe pink gingham apron in my sewing trunk, bake dainties one more time, and meet over chai with some of the people from many cultures we encountered looking through The Eye of the Needle. In our clock-run, storebought world, development needs to include talk over tea about ways to meet the need in all people to make art. It's time to revalue the humanizing touch of textiles created by artists like the embroiderersof the KMVS,and membersof the Needlework Guild and the Alberta Crafts Council,and acknowledgethe worth of the individuals, co-ops,shops, galleries, museums, and collectionsthat representand celebrate them."
Above: A companion display, coordinated by Cathy Roy of the PALAwith the help of the
Edmonton Needlework Guild and the Jobanputra and Tandu Ghandi families, shows
Gujaratineedleworkalongsidefine needlecraftby Albertans,illustratingsimilaritiesand distinguishing
motifs. Roy models conservation methods used to preserve the museum's
extensive textile collection (also taught by consen•ators such as Anne Lambert at the University of Alberta 's excellentClothing and TextilesCollection).
Through the Eyeofa Needle:Stones from an Indian Desertrecentlyshowedat the Provincial and a Museumof Alberta.With Intervn•trth•panels and de;plar;, t"de-o and designer fry nutty-illustrated catalogue Charllottc Kwon N'teenaRaste, TimMcLaughlin,available from .VLuwa@Mattea mm.)
Dr Rai didfield workfor her tlmversity ofAlbertaPh.D in public Health
and visited netght»nng Kutch.
in Gwßirat,
Anne Hill is domg graduate work in Clothing and TextilesWith the Departmentof Human Ecology and Cultum at the u. of Alivrta Having consultedfor a Sudbury atmmrtteedoing AIDSeducation of textiles through theatre,she of the expressive
future holds time for skilled embroidery. I re-visited Through the Eye of a Needle with a sense that I had lost something deeply important in neglecting to practice and re-interpret the "home-making"traditions passed down to me from my foremothersthrough Mom, my home economicsstudies and a 4-H Homecraft Club.
SUMMER2004 • ALBERTACRAFTMAGAZINE
11
Keepup the goodworkShirley, Not includedin the exhibition,for you are an inspirationto us all. a varietyOflogisticalreasonssuch refrain or an encore? as all theirworkbeingsold years in Congratulationsare in Orderto advance,Werebagpipes,drums Of TracyTremblayas well.She won "MakingMusic"was the special variouskinds,harpsichordsand two awards at the recentCanadian one-monthexhibitionof AlbertaDollArtistAssociation'sannual mademusicalinstruments,organ- violinbows. ized by the ACC to coincidewith The encorepart? Currenttalks may conferencein FortErie,Ontario. the JUNO Awards,April in lead to anotherversionof this exhi- Her DreamWeaverdoll won first place in the PolymerClay—Fantasy Edmonton.Elevenfabulousinstru- bitionin Calgaryand/or Ottawa, categoryand it alsowon the Best ments (some borrowed from faburecitalsand a sampler CD. The Of Showaward. The best Ofshow Iousmusicians)by sixequallyfabu- hand-made musicalinstrument Ious makerswere presented. scenein Quebecis big. The Conseil award goes to the piece with the highest overallcombinedscoreof des métierd'art du Quebec(their There was a varietyof interesting has a hand in interna- all the dollsenteredin all craft council) responsesto this venture.Mostof tionalmarketingOfmillionsof dol- gories.This year, there were 42 the makersand musicianshad artistswho had entereda totalOf67 lars worthOffine instruments. never heard Ofthe AlbertaCraft dolls. modestscale, Although more on a Council,but were pleasedwith the is there potentialfor this in opportunityto present their work CODA comes to Canada Alberta? in a new setting. Some of our (more conservative?)visitorsand memCODAis the US-basedCraft bers werepuzzledby the presence OrganizationDevelopment Kudos of musicalinstrumentsin a craft Association.In May, ACC gallery.Manymorewere surprised ExecutiveDirectorTom McFall and amazed by sucha remarkable Congratulationsto Shirley Rimer attended the annual CODAconfercollection.An assortment Ofprofes- for beingselectedas the recipient ence in New Orleans.He spoke Ofthe 2004Mayor'sRecognition sionalmusiciansand others aboutrecent researchand planning Awardsin the Fineand Performing projectsby the CanadianCrafts involvedin the musicscene,often Arts category,for Red Deer.Shirley Federation.He alsoinvitedCODA visitingthe ACCGalleryfor the has dedicatedmostof her lifeto first time,were vocalwith their to hold a future conference in praise, both of the instrumentsand her careeras an artist/potter.She Alberta,the first time in Canada.It their makers,and Ofthe Councilfor has taught many classesin ceramseems that Americancraft organiics and led many workshops.Her stagingsuch an event. zationadministratorsare keen to work is well respectednationally experiencemore of the Canadian The point of MakingMusicwas to and internationallyby collectors craftscene,and to visit and study explorean essentiallyun-noticed, and her peers. Albertacraft successessuch as the yet very sophisticated,aspect Of AlbertaCraftCouncil,Seriesat Red craft practisein Alberta.There are DeerCollege,the AlbertaCollege at least 20people in the province, OfArt and Designand someof perhaps more,who specializein Alberta'smany creativestudios. makingcustomand sometimes Plansare proceedingfor CODAin This quite originalinstruments. CANADA,2007. number excludesmany who work professionallyat instrumentrepair Call for Writers and modification. We want to hear from you! Il'lose included in the exhibition were The AlbertaCraft Magazine wants to share your stories,thoughts, Don Barnes (Okotoks) strugglesand triumphswithour with a matchedstring quartet (2 violins,a viola and a cello) readership of 2000+.
Making Music - the last
CharlesShifflett(HighRiver) with 2 guitars WilliamHopson(Calgary) with an Alphorn Lynn Tajcnar(Calgary) with an F-stylemandolin John Dorman (Leduc)
with a Celticharp Ian Moss (SherwoodPark) with a fluteand recorder
Dream Weaver Doll by fracy Tremblay
Polymer Clay First place in Faniasy categoryand BestOf Show at recent Doll Artist Association Conference in Fort Erie, ON
12
ALBERTA CRAFT MAGAZINE • SUMMER2004
Craftmakingactivitiesand events are happeningeveryday in every regionOfthe province.Craft show and sales,workshops,craft exhibitions,communalclayfirings,quilt makingbees,independentand groupstudiosales,diggingout clay from a claybed, sheep sheering and woolspinningactivities,home sale parties,symposia,conferences, lectures,and the list goeson. Jfyou have a desireto Sharesomeof your experiencesand writearticleson craftfor this magazinecontactthe editor, Jeff Collins at 780-488-6611 ext 225.
Or email jeff@albertacraft.ab.caWe
would all'love to hear from you.
Annual General Meeting On June 5th, 2004 the Alberta Craft
Councilheld their ACM.Here is a summary of activitiestaken from the Annual General Report.For a copyof the completereport including financialstatementsplease call the office:
The year Of 2003-04 has been one Of
continued growth in demand for
and use of services—by both members and the generalpublic. Memberships,galleryvisitors,web site visitors,customers,sales,enews subscribers,serviceusers, referrals,media attention,national and internationalcontacts,all increased.
By the end Of2002-03,the Alberta CraftCouncilwas strugglingwith an accumulated debt Ofabout $15,000.This was principallya resultof soaringutilityand insurance costs,a declinein touristbased sales, a change of casino
cyclesand the steadydeterioration of AFAfunding from 1994 to 2002.
The increasedAFAfundingfor helped turn around problems as well as changeattitudes. Specifically,the new fundinghas allowedeliminationof the debt, the start-upof a reservefund, modest staff increases,the restorationOf one previously reduced position, replacement of some old computers
and a partial restorationOfboard and stafftravel. Moregenerally,the AFAfundingincreasehas encouraged board members and staff to think more positivelyabout the futureOfthe Council.Forexample, twoor threestaff memberswho had been consideringjobmoves have decided to stay. And board membershave started new projects suchas a seriesOfCalgaryarea fundraisingparties and a Calgary facilitysearchcommittee. The increasein AFAfunding, did not allowany significantnew projects or much restorationOfpreviously cut or reduced services.The Council continued to operate with approximately30%reductions in the number of Mainand Discovery Galleryexhibitions.The magazine continued with four, rather than Six
issues.The travelingand on-line
In Memoriam
ed. And a variety of other invest-
The board and staffOfthe Alberta CraftCouncilwere deeply sad-
exhibitions have not been expandments such as advertising, renova-
tionsand travelremainedcurtailed. One expansionthat did take place was the renovationsof the basement with a new officeand Lower Galleryopeningin April 2004.
dened to hear of the passing of
Linda Stanier on May24,2004at the age Of 45, after a courageous
battlewith cancer.She was born in Arizona in 1958and came to Canada as a young adult. In 1985 Nevertheless,the increasein AFA she enrolledin the art historyprofunding was a welcome relief. And gram at Red DeerCollege.She conthe relativesize of the increase(one tinued with the Art and Design of the largestPASOincreases)has programthe followingyear where been takenas an endorsementOf she realisedher love for ceramics. the CraftCouncil'spast and future In 1988she becamea memberOf activities. the AlbertaCraftCounciland from 1990-94 served as a directoron the Art Central Set to Open ACC board. Linda was an artist/ potter Ofexceptionaltalent. Calgary'smuch-anticipatedArt She was always an activemember Centralis preparingto open this in her communitywhether that September.Located at the northwas a communityof potters,artists west cornerof CentreStreetand of all disciplinesor her community SeventhAvenueSouthwest, Calgary,Art Centralwillbe a com- of neighbours. She was a prominent teacher,juror,curatorand plexdevotedto the visualarts, comprisedof spacesfor studios,art technicianin Alberta•sactive ceramicscene. Linda touchedthe galleries,supplementaryretailand livesof everyoneshe met with her related services, as well as a café joyfuland givingspiritand her and restaurantto serve the complex.Art Centralprovidesa unique wonderfulsense of humour.Her opportunityforCalgaryartistsand passing is a great lossand she will be missed. art patrons. Spreadout over 3 floorsthe buildingwillhouse40 KeithEvans, long time member individualvisualart relatedspaces. and formerChair Ofthe BoardOf An atriumwillcut throughall the ACCdied a car accidentin three levelsof the buildingand will April at the ageinof 62.A talented ice be capped offwith a large skylight and claysculptorhe joinedthe bathingthe interiorwith natural ACC in 1987and served as Chair Of light.The three floorswillbe conthe Boardfrom 1987to 1992.He nectedtogetherby a grand central developeda uniquestyle Ofcharacstaircasegiving the entire space the terizingthe human formin his feelingof an open and activepublic sculptures.Evansand his wife, art galley.The lowerand upper Maria David-Evanswere accomlevelwill housemany Ofthe indiplished ice sculptors.They won a vidual and groupartist studio gold medal in the 1988Calgary spaceswith leaserates starting at WinterOlympicsand represented $500and risingto just under Canada in three internationalcomper month. petitions.Beforehis retirementin the late 1990's,he was in chargeof Whileit will not be practicalfor everyone,Art Centraldoes provide river valleyparks and became knownas the '*kingof swat", since valuablepotentialto the experihe was pivotalin shaping the mosencedand businesssavvy artist. quitocontrolprogramfor Art Centralwillattract a clientele Edmonton.The boardand Staff Ofart patrons who willbe interestrememberKeithas a friendlyand ed in meeting,and buyingfrom, artistsin their workingstudios.Art generousman with a zest for life and a smileon his face. Centralwill alsoprovide many cross-promotional opportunitiesfor the mutualbenefitof all the leaseholders.Formore informationand leasinginquiriescontactRob Mabee at rob@artcentral.ca You
That's a Good Question! How Should I document my Arbuork? It is important to document your work for your records and for applicationsto exhibitionsand marketing opportunities.Digitalphotographyis new technologythat has made picture taking and documentationall that much easier and costeffective.Images can be easilyburned on to discs or sent via the Internet, however there are some things to keepin mind beforeswitchingcompletelyto digital and abandoning your SLRcameras and slide films.
Consumerqualitydigitalcamerascan servean important role in studioshooting,especiallywhen the output is intended for electronicmedia, like the web, but unless you are prepared to spend the big bucks, they still do not produce acceptableimages for high-qualityprint reproduction.Manymagazineand bookpublishersstillwork primarilyfromslides/transparencies. One must not forgetthat proper lightingand a well composedand properlyexposedphotographis just as importantwhether shootingdigitallyor shootingwith film.The vast majorityof consumer-levelcameras have limitedaperture settings and make exposureadjustments with an intense flash. Depth of field,range of contrast and coloraccuracymay suffer.Many professional photographers now work in both formats and it is recommendedthat unlessyou have properlightingand high-qualityequipmentthat you hire a professionalto takeyour photographs. Long term storage of digital imagescan alsobe a problem. Proper back-ups of your digital filesare essentialdue to unforeseencomputercrashesand virusproblems. As technologyadvances (justrememberthe milkcartons full of vinylrecordsin your basement)equipmentand software can quickly become obsolete.
There is also concern about the longevity of CD's. When first released CDs were toted as lasting a lifetime and
beingvirtuallyindestructible. Anyonewho has a CD
collectionknows this to be false —as scratches and skips
appear and for some reason it just wouldn't play.
This lifetime has turned out to be quite short as deterioration has been seen in older CD's and in some only 5 years
old. Buygood qualityCD's and make multiplecopies in caseyou have a CDfailure.Apparentlythere is new technologycomingthat promises to be more stable. For now resist the urge to sell the slide projectorat the next garage sale.
can also visit their web site at www.artcentral.ca
SUMMER 200d
ALBERTA CRAFT MAGAZINE
13
8
Calendar
Edmonton Weavers' Guild Classes and Workshops
CALENDER SUBMISSION DEADLINE:
Crafters—A unique Opportunity
call 1-800-00 CRAFT or (780) 488-6611; fax (780) 4888855;
year old established craft business by becoming a member. For more information contact: Craftman's Covq Millwoods Town
For the Fall 2004 issue is August 25, 2004 e-mail: acc@albertacraft.atxca
The Alberta Craft Council is open to submissions of opportunities for craftspeople, from any craft organization in the province, space permitting. Ifyou are interested in promoting a special event, activity, gallery, show, or employment opportunity, please
call the ACC office. The ACC makes every effort to ensure the
reliablity Ofall the programs and serviceslisted below, however we will accept no liability for any loss or damage as a result of
doing business with any of the advertisers contained herein.
Notice to All ACC Members
Alberta Craft Council Members are entitled to free classifiedads. Up to 50 words, one per year, space permitting. Sell your work. promote your studio, 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 Collins at 780-488-6611 ext 225, toll free in AB at
1-800-362-7238, fax jeff@albertacraftabca
or email
Need an outlet to market your crafts? Then consider joining a 20 center, Ph; 454 2656.
Calyx Distinctive Arts
Calyx hosts an art exhibitions and sales uice annually in
Calgary, AB The four founding members of Calyx. exhibit and sell
their work and welcome other qualified artists to participate. If you are an artist with aspirations to sell your work in a high
Call to Alberta Artists
The Lions Eye Bank, the Hope Program and the Eyewitness Group have created an Angel Tree" to recognise the selfless
generosity of those Albertans who have donated thew organs
and or tissue to help save the lives of others. The Angel Tree located in the Devonian Gardens in Calgary's TD Square is adorned with small angels that have been placed by family
membersof a donorin remembranceof theirgift We are cur-
New Courses, Drop-in Art Classes & Special Workshops,
at 403-949-3769
Opportunity for show in Calgary 2004 & Ongoing at Centennial Gallery
Thelma Likushi for more information at (403) 266-6783
International Competition. This grand-scale intemational event
participatedby the world's finestceramicartistsfocuseson
defining new values and creative direction for 21st century ceramics This International Competition, one of the main events
of the WorldCeramic Biennale,will be heldfromApril 23 to June 19, 2005 in which ceramicartistsfromacross the globewill compete in cateqonesof "Ceramicsfor Use" and •Ceramicsas Expression. • All ceramic artists are eligible to participate, and the judging panel will comprise venerated ceramics experts from each continent For information visit http•flwocef.corn/
2004Art Market - Art & craft sale - Calgary
November 18 - 21.2004 18th annual, juried, 210 artisans, high quality event in the Telus Convention Centre (City Centre) Calgary, AB Apply early' Processing started April 1, 2004 Applications at MMHartmarketonline.com,Visit the web site for an Internet Marketing Opportunity Call toll free: 1-877-929•9933 Or 1•250-612-2411 Marlene Loney Arl Market Productions Inc Fax: 1-250672-9517 Email: PO Box 190. Barriere. BC. VOE i nfo@a rtma rketonl i ne.com
Visitthe Alberta CraftCouncil web site for a listing of more than 100 craft shows and fairs in Alberta and elsewhere. link and search the www.albertacraft.ab.ca.Hit the EVENTS directory for details on each show.
EDUCATION
Exclusive to Alberta, Saskatchewan and Manitoba. Calling all artists, crafters, craft suppliers and retailers •Let us create, host.
and maintain your website, your own online brochure• Link
exchanges are welcome Share Information on craft organiza-
tions. events and projects 306-978-1388 mailoprairiecraftshowcom
14
i ALBERTACRAFT MAGAZINE
interest to Alberta Craft Council members? Fax us your information at 780-488-8855 or email at acc@albertacraftab.ca and we
Join Edmonton painter Jeff Collins for an introduction to landscape painting in oils 6-week course covers the basics including colour theory, composition and design, drawing the landscape and paint manipulation. S 150 includes all supplies and materials so if you have a desire to paint but want to try it out before
investing in expensive oil paints and brushes this is the course for you. 5 students in each Classes start in September. Call Jeff Collins in Edmonton at 780.439.9532 Or email jdcollins@compusrnartabca for more details.
The Nelson Community Campus Alliance
Situated in Beautiful Nelson BC, a unique collaboration was born. The NCCA is a collection of internationally recognized institutions that have come together of offer over 130 courses, from
An and Design to Business; Art Therapy to Traditional Chinese Medicine.The Summer of teaming not only offers world-class Educational opportunities but host them in a family vacation paradise There are classes to suite everyone For more information and registrauon go to wwwnelsonlearning.ca or call 6601 Classes run July 5 —August 13, 2004
Advanced Woodworking and Furniture Design —NAIT, Edmonton
The Advanced Woodworking and Furniture Design Program
engages students in the exploration of their creativity while
developing advanced woodworking skills.Program runs from visit wv,wnait.ab.ca/wood Phone: (780) 491 •3184
Ukrainian Cultural Heritage Village Artistic Workshops
Located only 25 minutes east of Edmonton on Hwy 16, the Ukrainian Cultural Hentaqe Village is offering a variety of culturPi oneer
Chair making and Ukrainian Cooking, For more information: (780) 662-3855 or uchv@mcd.govab.ca
SUMMER2004
Sculpting the figure in clay, figure drawing, painting the figure, drawing the self portrait & exploring portraiture, sculpting the figure in relief, sculpture - slab forms in clay, patinas for sculpture, sculpting organic clay pots alternative Polaroid techniques, egg tempera workshop plus many For more information
please contact: Harcourt House office at (780) 426-4180 10215 112 Street. Edmonton www. harcourthouse.ab.ca
sculpture, printmaking and so much more. Teens are immersed in an intensive visual arts program designed to stimulate creativity and self-expression. For information contact Wendy Meeres at
Red Deer college at (403) 342-3130
Teen Video Intensive 2004 —Red Deer College
ing film and video. Each student will learn a basic approach on how to produce, direct, shoot. write, act and edit their own short movies Emphasis will be placed on the collaborative nature of the film making process Work side by side with some of Alberta's finest actors, filmmakers and instructors. Evenings will also be filled with guest presentations or special screenings.
Landscape Painting in Oils
a l one-da y works hops , from Pys a nka Wri ti ng to Wi l l ow
community with a wide range of art classes and workshops.
Immerse yourself in an intensive •hands-on" approach to explor-
November 1, 2004 through July 30, 2005. for more information
www.prairiecraftshow.com
For the last fifteen years Harcourt House has been providing the
Visual arts summer school for teens (15 —1 7) August 8 — 13 and August 15 — 20, 2004 at Red Deer College. Drawing, painting,
will be sure to include it in our calendar section.
the 3rd WorldCeramic Biennale2005 Korea(CEBIKO)
Harcourt House
Summerscapes 2004
CRAFT SHOWS AND FAIRS
with the proceeds going to the maintenance of the donor garden and Angel Tree.All participating artists will be invited to this event to showcase their entries. Deadline for entry: November 15th, 2004. For more information contact the Lions Eye Bank at 40+943-3406 or the Hope Program at 403-944-8700 Ceramic artists from around the world are invited to take part in
A 5 Day Pottery Course focusing all the aspects of production and functional pottery. August 9 - 13, 2004 at Pike's Studio in High River, Alberta. Intermediate Level - You must be able to
Call for potters
The Full Moon Gallery in Bragg Creek, AB is looking for potters who work in medium fire range or high fire. Quality, functional and at a good market point. Please call Pam Rodger
Doesyour group offer classesor instruction that would be of
3rd World Ceramic Biennale 2005 Korea
Pikes pottery Course in High River
our website at ww•w.calyxart.com.
rently in search of an artist to design and create a tree topper for this Angel Tree. Prizes include first 5500 second 5200, & 3rd
$100. All otherentneswill be auctionedoff at a specialevent
more information or to register, contact Sonja Myroon at (780) 452-1152 or omyroon@telusplanet.net
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@pikestudioscom
Must provide own packaging & hanging, etc., JURIED Call
[ink for up Checkout www.a/bertacraft.ab.caand hit the EVENTS to date and expanded listings for calls for artJSts.
ing. Registration is open to anyone, but spaces are limited. For
quality, juried event with like-minded peers, contact us at (403) 949-2961 or calyxart@shaw.ca for more information. Also, visit
Suite 133 One Palliser Square, 125 - 9th Avenue SE, Calgary, for 1 month & S125 for 2 weeks, Alberta T2G Fees:
CALLS FOR ARTISTS
Classes in beginner and intermediate weaving and beginner spinning, basketry, felting. dyespinning. Workshops in
Designed for teens aged 15 —17. Program takes place at RDC July 17 —24. For information contact Wendy Meeres at Red Deer
college at (403) 342-3130
Arts & Cultural Management F'rogram Online
Grant MacEwan Community College in Edmonton is offering their Arts and Cultural Management program online. They now have 5 courses available via the web with plans to have the remaining Courses available September 200-4.
For info contact Alana Broomfield (780) 497-4408, email: broomfielda@macewan.ca
EXHIBITIONS and EVENTS Tea anyone?
It's all about Tea at the Leighton Art Centre, June 19 - August 4,
2004. Strawberry Tea Party June 19, with fashionshow by
Dee Fontans Guest curators Evelyn Grant, Natalie Kurzuk and Margot Van Lindenberg present Tea & Roses, an exhibition of whimsical teapots and Natalie's teabag paintings and The Tea Affair, conceptual tea table installation% Barbara Patterson's
maquette of the Famous 5 will also be featured, (403) 931-3633.
Dreaming In Colour
Barbara's Legacy, Celebrating 30 years of Art Education at the Leighton Art Centre. August 6 - September 26, 2004 at the Leighton Art Centre, Calgary. Children's art, photo's and a necdotes of s tudents , tea chers , a rti s ts a nd fri ends of Ba rba ra
Leighton will be featured, (403) 931-3633.
Electrum Design Studio —Edmonton
Visit Edmonton jewellers Wayne Mackenzie and Janet Stein at
Electrum Design studio and while you are there you can take in
the great art exhibitions Wayne assembles. From July 7 —August 28, 2004 you will see the paintings of Sophia Podryhula-Shaw in her Exhibition Prairie Venture During the month of September
Todd Safronovich will be showing his recent glass works 12419 - stony Plain Rd. Edmonton, 482-1402, corn/electrum
The Croft Gallery —Calgary
Artist reception exhibitions at the Croft Gallery in Calgary
include: Landmark Paintings by Alberta Artist Lillias Cowper June
17, 2004. •Harry's Wonderful Ceramic Circus •, by BC. Artist Han Wong July 15, 2004. New Functional Ceramics by Alberta Artist, Jason Pennock along with Bead work by Alberta Artist. Sandra Kuntz August 19th. 2004. Shows run for one month. with wine and food to accompany the art. For more information on upcomming exhibitions contact the Croft Galley 21054th st SW Calgary AB phone: (403)-245-1212 email: info@croftgallery.com
Quilted Expressions 2004
Experience the Beauty Of Quilts -Edmonton & District Quilters' Guild • Quilt Show. September 18th - 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
Art Holdings —Minneapolis, MN
Ottawa. toll free 1•888-757-7752 or email: maeciwca
Web: wwwdfait-maeci.gcca/arts
Provdes art consulting and art sourcing services to corporations
Canadian Heritage Funding for Arts and Cultural Exporters
A new 3-year plot called Trade Routes provides funfr.g for exprt preparedness ard international market development Info: Margaret Skok. Director, Trade & Investment Development
(819) 953-5316,
Assists talented aboriginal artists with financial aid for edxation
and training in the arts includng crafts
Contact Canadian NativeArts Foundation.70 YorkvilleAve.
(780) 439-9532 or
Rechner@(780) 423-2966
Association of Universities and Colleges Of Canada — Study Craft Overseas
heritage organizations Visit
The AUCC awards overseas scholarships to Canadian citizens for
undergraduate or pst-graduate studies induång crafts. Send 20 slides of 20 original works Contact AUCC. Awards Dension, 151 Slater street. Ottawa. ON KIP 5M, Phone: (613)563-1236
The Commonwealth Arts & Crafts Awards
Opportunitiesfor ten artistsand craftspeopleto exploretheir
Deadline is ongoing. Openings for recent graduates in hot glass
metal. ceramics and textiles Contact: The Craft Studio at Harbourfront Centre. 235 Queens Quay
Toronto. OL Tell (416)
GRANTS/AWARDS
9734963. rmegan@harbourfronton.ca or
Visit the Alberta Craft Council web site for a complete listing of
Visit the Alberta Craft Councll web site for more information On grant programs available wwaalbertacraftabcdpagesfinfdgrantshndex.htrn
grants, awards and scholarships available to Alberta craft attis&, Follow the Info link and then hit on Grants and Awards.
Canada Council
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 %wucanadacouncil.ca
Alberta Foundation for the Arts
Project Grants for Individuals: Deadlines February 15 and
September 1 5 each year. Art acquisition through slide submission
deadlines: April 1 for new artists to the collection. October 1 for all artists Web: http•Jtwwacd.gov.abcaJall_about_us/cornmiss i ons l a rts ./
901 Standard Life Centre 10405 Jasper Avenue Edrnonton, AB
T5J 4R7 Reception:(780) 427-9968 Fax:(780) 422-9132
Canadian Clay and Glass Gallery
Winifred Shantz Award for Ceramicists. Deadline: August 29
Amount: SIO,om Award is presented annually to an emerging
potter or clay sculptor to allow the recipient to travel for career
development or study. Contact: Canadian Clay and Glass Gallery
Phone 519-746-1882
The Center for Book Arts
Sally R. Bishop Artist's Residency. A six-week summer residency to produce a limited edition book in the Center's studios in New
York. Contact The Center for Book Arts 28 West 27 St New York, NY 10001. emwcenterforbookar.org
International Career Development Grant
Art and cultural Industries Promotion Division. Department of Foreign Affairs: Airfare, accommodations and per diem grant to
been modified to make it more responsive to users needs. The
site offers an incredible vanety of information easily accessed
through new menu listings. In addition to the new menus are job postings conference and training listings and direct links
and are open every Thursday evening from S —8 p.m. Buy directand share some fun. For more information contact Jeff Collins @
Canadian Hentage Information Network (CHIN) Web site has
suite 33A Toronto ON, M6R 189 Phone: (416) 926-0775
The Craft Studio at Harbourfront Centre —Artist in Residence Program
ly from the artists involved, get a peek into the studios, come out
Canadian artists Contact Leslie Palmer-Ross at 6210 Wayzata Boulevard. Minneapolis MN 55416 Tel: (763)567-2205
CHIN web site
Canadian Native Arts Foundation
ArtsHab is a unique live/wcrk housing unit for Edmonton artist. The artists have now turned the hallways into a studio gallery
chent•s needs Art Holdings in interested in finding new
e-mail: Ipr@artholdingscom web:
tr/index_ecfm
skills in an international context This award helps winners travel to another Commonwealth country to work with other artists Visit: WNWcommonwealthfoundation.com for details
ArtsHab Studio Gallery —Edmonton
other art consultants retailers and individual buyers/collectors for residential and commercial settings Tley have been in business for 20 years and employ 16 art consultants to identify
to funding sources publications government departments and
The Art Society of StrathconaCounty
is seeking artists to hold evening and one & two day workshops All welcome. Submit complete workshop information (Including mediums etc. and an artist bio to Karen Arnett. do ASSC Workshop Coordinator. 57 Mission St. Sherwood Park. AB TBA OV6 or E-mail: ktarnett@telusplanetnet
Department Of Foreign Affairs
The Department Of Foreign Affairs and International Trade has as
arts and cultural industries division that works hard to promote and assist Canadian artists. including craft artists in foreign markets Information on market reports financial assistance, international art events and more is available on their web site.
Visit wwwdfait-maeci.gc.calarts
Canadian Craft Federation Web Site
The Canadian Craft Federation works hard to advocate fine craft and present opportunities for people in the craft industry to take
More Grant Opportunities
OPPORTUNITIES ART CENTRAL - cafe. Studios & Galleries in the heart of downtown Calgary.
0t MarketReportsOntheirweb site includethe Profile
and Development study. Marketing Guide for Contemporary fine
Craft in the UnitedStates Studyof the Craft Sector in Canada.
Career Self Management in the Culture Sector: What Next?. CODA Craft Conference & Survey, Canadian Crafts: Study of the French Market Study. Go directly to these reports at m•gwcanadi-
ancraftsfederation.a/htmt/advocate_ccfhtml or you can also Start from the CCF home page at wwwcanadiancraftsfederation.ca
Exceptional opportunities for artists in their own studio or studio/retail environment Studios from under S500. Monthly I
Building Successful Careers in Arts and Culture
403-5439900. or robaartcentral.ca
ard culturalworkersdevelopedthe Art Of ManaglngYour Career
all-inclusive Leasing for September 2004. Call Rob Mabee
The Cultural Human Resources Council has released a career self-management guide for artlStS and Cultural workers Artists
Seasonal Art Gallery in Saskatchewan For Sale
Guide to provide pertinent and practical information to better manage artistJC careers_The guide is available for $20 per copy
Buildng housing seasonal art gallery at Manitou Beach.
Saskatchewan- Currently operated from mid June to mid September. budding is appronmately 440 sq and backs
onto the main beach. Land is leased from the village
To inquire contact Lynne Bovvland at glassrod@nbnet.nbca
or at (306)9463141.
Northern Alberta Wood Carvers Association
NAWCS meets the second Wednesday Of the month at 7
—June. Westmount Junior High School. Room •l. 1 1125 —131 Street Edmonton. For club information call
Dave Eisenbeis (780) 467-6093 or Jack Wallace (780) 462079. http•J/home.ecn.a bca •'—na wca
Focus on Shetland Fibre Arts Competition
July 2-4. Olds College Olds Alberta. Open Entry: all entries must
be made from at least 75% Shetland fleece grown in North
America. Awards in all hand spun. hand made classes. Grand
prize S300. For more information contact Linda Wendelboe (403) 638-3912 agm@fibreworksfarm.comor Kathy Baker (403) 946-3943 kgbakerOallsteam.net You can also visit
plus shipping and handling charges E-mail: info@culturalhrc.ca
Marketing Guide for Contemporary Fine Craft in the United States
mis definitive source Of information. for craft artists interested in entering US markets or expanding their US exposure. features 30 pages Of Current advice On dealing with American markets and profiles of about 140 American craft gallenes that are Interested in carrying Canadian work. This guide is available to Canadians Only Receive your hardbound Copy by calling Ottawa at 1-800-
267-8376 and select •Publications- from the phone menu. Or visit .jsp
The Metalphoric Association Of Metal Artists — Calgary. AB
The Metalphoric Association of Metal Artists has brought together a group of artists. ranging from fashion designers. levvellers to sculptors all working With traditional and contemporaw metal working techniques Interests outside of jewellery making have
leadthe artists downdifferentcareerpathswithinthe semi-pre—
cious and metals as mentioned before fashion des.gners. jewellers and sculptors Contact Karen Bahr •the at (403) 568-0928 home/studio for more informatiom
help upcoming artists launch international careers and develop market potential by exhibiting in a foreign commercial gallery. Amount up to 9,500. Info: Department of Foreign Affairs
SUMMER2004 • ALBERTA CRAFT MAGAZINE
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