c co CIL
Alberta Craft
Alberta Crafts Council
Objectives
Committee
a) To encourage the development and furtherance of craftsand other manually controlledtechnoloqes in Alberta.
Incorporated 1
published5 timesper year: Sept. l, Nov. l, Jan. I, March
I, and
May
I.
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reflect those of the ACC.
Brenda Malkinson
Art/Design: Advertising/
c) To co-operate
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SharonNeuman
News Editor:
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Jane Thomas
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COVER "Boulders"
Wendy Llimatainen
see page 10.
2
President
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Anne Lambert Edmonton
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Index
Letter from the Editor
Yes, there is still an Alberta Craft. It's been a long time, but we're still
Alberta Craft
here.
Bridging The Gap
page 4 - 8
Clay and Glass at the Muttart
Susan Abells Fridman page 9
Cover: Wendy
Liimatainen
by Jane Thomas
page
10 - 12
Mini Reports La Societe des amis du Fleche
by Rita Potvin page 13
What's Up?
page 14 - 15
Time to Co-operate by Maggie Morris page 16
First,we were delayed by a lack of funds, but we received a grant from
Alberta Culture this fall.Then, our hard-working
editor, Jane Thomas,
peowent on sabbatical , leaving Alberta Craft temporarily in the hands of it think than you longer takes she. Everything ple less experienced than
will.(There must be a Murphy's Law to this effect!).However, we are out, and we are obviously fillinga need, because we have been missed. Many people have asked about Alberta Craft.
We wouldlike to assure our subscribersthat they will receive the
number
ple who
of issues they paid for,and we would like to apologize to the peo-
sent notices which were outdated before we published. Please
keep us informed. Publication should be on a more regular basis from now
The president of the Alberta Crafts Council, Orland
Larson, has re-
signed, due to the pressure of his work at the Alberta College of Art, and to some health problems. Vice-President Anne Lambert is presently acting
president. The energy and effortsof Orland Larson certainlyhelped
revitalizethe Alberta Crafts Council, and we would like to thank him for his great contribution.
Wishing
everyone
perous 1983.
a happy
holiday season and a successful and pros-
Sharon Neuman, Acting Editor
000100 ASSOCIATIONS
Association 1. Alberta Potter's Craft Center 2. Camrose & District Guild Artisan's & 3. Canmore Artists
4. Ceramics Canada
5. Drumheller Allied Arts Council
6. Edmonton NeedlecraftGuild Guild 7. Edmonton Potter's 8. Edmonton Weaver's Guild 9. Fairview Fine Arts Society
10. Hand Weavers, Spinners & Dyers of Alberta ll. Heritage Weaver's Association of Calgary 12. La Societedes Amis du Fleche, Edmonton 13. Medicine Hat Fiber Arts Society 14. Old Cabin CraftsSociety,Calgary 15. Oldman River Potter'sGuild, Lethbridge 16. Olds HandicraftGuild 17. Parkland Potter'sGuild, Stony Plain
18. Parkland Weaver's Guild, Red Deer 19. Rocky Arts & Crafts Guild, Rocky
House
Mountain
20. St. Albert Alts & Crafts Guild 21. St. Paul Arts & Crafts Club
2. SteepleArtworb ArtistsSociety,Calgary 23. StrathconaCounty Weavers, Sherwood Park 24. Sylvan Lake Heritage Handcraft Society 25. Visual
Arts, Community
Services,
St.Albert 26. Wainwright Arts & CraftsCenter 27. Wetaskiwin Allied Arts & Crafts 28. Calgary Guild of Needle & Fiber Arts Quiltefs Guild 29. Edmonton & District Calgary Christmas 30, Westem Works Sale Craft
3
Bridging
the Gap
annual general Les Graff, director of Alberta Culture Visual Arts, addressed the Alberta Crafts Council opening meeting special session on April 17, 1982. The gathering, called "In Touch", was intended to assistin many channels of communication amongst craftsmen, organizations, government and others. Forty-fivepersons, of whom represented organizations, participated in the following question and answer period. Itishoped that,by reprinting portions of the session here that itwill raise further questions and provide you with an opportunity to
learn more
about the state of affairsin Alberta.
Mr. Graff has agreed
to respond
to your questions in future issues of Alberta Craft. Address
tions to: Mr. Les Graff, c/o Alberta Craft, 10645 - 63 Ave.. Edmonton
Q. Diedre Spencer, craftsman. Could you give me some
history why
the galleries get such a big piece of that pie (proportions of grants) because it seems you give support to commercial galleries as well.
R. Les Graff. No support to any commercial
gallery
whatsoever, that's number one.Number two— why the galleries? Because they are the most important game in town. Anybody want to argue that point?
Come on.
Q. (Unidentified speaker). How many public galleries are there in Alberta — about twenty-six? R. L.G.
money
Something
like that. I forget. They
because they're more
pie.Okay?
get the
important than you peo-
R. (Unidentified speaker). I don't see it that way. (Laughter).
R. L.G. I've been waiting for that. R. (Unidentified speaker). It isn'ta great argument. You
either fund
the galleries and
not
the artists;
therefore there's nothing to hang up in the galleriesor you fund the artistsand not the galleriesand there's no
place to show their work. R. LG. Within the argument, that's true.
Q. Anne Lambert,vice president, ACC. Why do
TSH
year old realizationof mine. I've-been in the job for twenty-two years and I've realized a) that you don't speak up and b) your needs aren't very real and they aren't very important. Unless you come up with better needs than you've got then you're not going to get them
to first base,
ting Handweavers,
Spinners and
How do the galleries speak then? R. L.G. Can time? And
multiply that times twenty-six galleries.
R. Orland number
Larson, president, ACC.
of member
ment.
out of the govern-
R. (Several speakers). Just give us time,
R. L.G. That is why I'm here. Within the department
We've
got that
organizations at least.
Q. L.G. Are they all going to hit the Minister at the same time? R. Orland
Larson. No, but we're going to start.
Q. Anne Lambert. Do they reallydo that.Les?
R. L.G. Sure they do. They can lobby very, very easy.
They're
spread
Lethbridge,
all over
through
the
its member
province.
You
get
of the legislative
(MLA), speaking to the Minister. Then you get the Muttart Gallery down in Calgary, Galleries in Banff and
Grande Prairie. Come
ple put up their hand.
nearly the lengths of getting money
of Alberta.
you imagine a gallery with a Board of ten
lobby capacity. They can not embarrass the government in any way whatsoever, and have not gone to
organizations do not have nearly the
Dyers
or fifteen people all hitting the Minister at the same
their M.L.A.'s are.
Because
board member, represen-
Q. Joan Vanterpool,ACC
organizations get less? R. LG.
your ques-
IP6.
on. The galleries know who
Q. Peter Weinrich. How many people here have ever been
able to see their M.L.A.?
R. L.G.
Now
I think you
There
know
you
are: four peo-
the situation, the
galleries have been yelling and screaming. Now I go back a few years, at one time the only grant we gave an
people like Pierre (Guy) and myself can only do so
art gallery was $5,000.00 and that was the Edmonton Art Gallery and no one else got anothef cent. We gave
own
had a better squack box. You were getting mor
'much. After a while we are accused
of building our
empires. In recent meetings with the Minister and
the DeputyMinisterI asked them, "what is the flack like that comes across your desk in the visual arts?"'
They
said there is none. "Anything that has is easy to handle." Okay? So I really have to put itback in your lap. This is not a new idea on my part. This is a twenty
4
$15,000.00
in scholarships
that year.
In the sixties you
money, the organizations were gettingmore mone and the individuals were gettingmore money on a percentage basig. Well twenty years have gone by and
from 1972 forward I've seen one thing happen province: you people have lost ground
in this
tremendously
at
the grass
Now this year (l am kidding all the way through this)
lost it at the professional
you've
root level and
exhibitions, no level. There are no more Alberta Craft
exhibitions (Alberta Culture Environmental International more series of exhibitions) or no have Exhibitions 1973. Right? Your grants Ceramics have. galleries years. The not increased over all those even courses etc. services, our through go And ifyou more
we're gettingmore and more demand
more courses and things like that, not they've increased to where
for management
than craft,but
they're shoving
the craft
an organization like situation over. So it'snot only yours
that has
root level —
to work,
to go
it's also right at the grass
they're not making
demands.
In fact, if
something?" we write they write and say "can we have say "thank you" they can't", you back and say "NO
Q. Jim Robson, treasurer,ACC. funding
source
R. L.G. What
for these
galleries?
What is the major
Alberta Culture supplies,represents
The rest,they go out about 25% of their totalfunding. qualify for our 25%. to sector private and raise in the raised from the organization this has How much money One of the problem. the always is private sector? That compared as government this for traditionalproblems or organizations, craft that is to maybe other situations
other organizations have come
and said "hey, we have
we think we can an idea, ifyou can give us $100,000.00 says, "you government This the road". get this idea on percentage you a give we'll then it and go and work at basically it.In of whatever you spent lastyear." That is yourself. prove to have to going other words you're
You're going to have to raise your own money,
you're
we going to have to have your own expenditures and
to look at our record on firstcome firstserved, you want a tough one, Jane, It's go ahead, look at our record.
because you know very well whathappens. Whose the most organized in terms of making April
Galleries.
I , the gallery
grant
grant applications? applications
are all
No one has sittingon my desk. At leastthe major ones. on April desk to my yet beat the Edmonton Art Gallery up phones who student I. So what do you think of that just "I'm says and opens like three days before his show
short $400.00, could you give me a grant?" You say earlier?" (A - we
didn't you say something
"gosh, why
ran out of money
B - everyone has to apply in advance
knows. etcetera, etcetera.) But the EAG they get their grant application in.
Q.
Elke Blodgett, craftsman. I have
That is why
tried since
an application form to Christmas approximately to get the Halifax Canadian attend apply for a travel grant to Conference
Crafts
. . .
on that, and my R- L.G. You've got plenty of letters phone call on that. Blodgett.
R. me
I still have
not gotten
the application
forms. R. L.G. And
you won't get iteither. it'sto be on your Q. Elke Blodgett. You've been saying desk April I. What do I do? my desk yet? Q. L.G. On April l? It'snot on
R. Elke Blodgett. NO!
won't get a grant. R. L.G. That's your problem. You because you submitted R. Elke Blodgett. But I haven't us to use. require you have not supplied the forms that You'll get the forms
okay?
You'll get the forms.
expenditure. will grant you on the basis of your
R. LG.
you pie to cut and give to galleriesand organizations,
after year. This policy, We used the same forms year Individual applicayear the picture will be different.
Q. Jane Thomas. Les, when you have a certainbudget are the one
ends .
who
decides where
the proportion
R. L.G. No, the Ministerdoes. R. Joan Vanterpool. Upon
your recommendation.
R. L.G. Upon my recommendation or upon her own
which might be formed as a result of recommendations a number of people going to her officeto talk with her
etcetera.
Q. Jane Thomas.
But when
it'syour recommendation,
do you establish what the division is? R. L.G. That's a good question Jane. In other words let'ssay if the Minister said okay this year we'll do it your way Graff, I don't really know how to tackle that how
situation. Q. Jane Thomas.
R. L.G. What
It'smore
or less by demand,
isn'tit?
I have done to date is firstcome
first
To everything throughout the entire • serve. Okay? grant program: firstcome firstserve. And there has been a big loud cry on the part of everybody. So this year for instance, in order to have a grant program, and one reason you do the firstcome
firstserve thing is
that if you only have $4.50 in the grant program
yoy
don't advertise itprovince wide, you don't say come on everybody put in your application forms and dissapoint three thousand people with only $4.50. So you just simply say, "firstcome
firstserved". Now
that'swhy my
Aunts always get grants, why the galleries that I like, that give me
shows
personally get a grant and
that's
why you people will write me nice lettersaboutit.
Up
until last year we had the firstcome
tions on
projects
will be competitive
firstserved
with a jury. All in-
applica— dividual applications will be competitive, new away. That protion forms will be sent out to you right prior gram is approved by my superiors on April I, not for up to gear to April I. So since April l, I've had 30. June printing also mailing. The deadline will be
There willbe $20,000.00,that is all for all artistsof all kinds doing anything in projects. Now,
on organiza-
$26,0.00 tions we have a grant budget thisyear of all organizations. R. (Several audience
believe it. Whatl Q. Anne
L.G.
Disgusting. I dorft
Lambert. Does that $26,000.00 include your
administration costs? R.
members).
for
No,
that is the money
I give
out. That
$26,000.001 can't advertise the program across the
come on province. I can't say to all the organizations, in get your applications in. If all the "Wetaskiwins" would chew itup. Alberta applied and got $500.00 they What should my one, this on priority put a to So I have
priority be on this one? What should my priority be on
this $26,000.00 can you tellme? missing the point. R. Jane Thomas. I think you are still
although I appreciate that informatipn.
R. L.G. I'm getting around to it,getting around priority on the organizational grants Will
My
to
ACC, Alberta Potters' Associationplus a craft lair.
the
s
Q. Katharine Dickerson, artist,instructorAlberta Col-
lege of Arts Why?
R. L. G. Because those three agencies have lobbied us the heaviest, have shown the most skillin organizing
themselves and have probably done the most in terms of helping
others.
Q. Gail Rodgers.
You
everybody
don't think it'simportant that
should make applications and bring itto the attention of the Minister, that there's more money re-
quired? R. L.G.
If you
wish
to bring
Minister,go ahead.
that to the attention
of the
R. Joan Vanterpool. I think that you should. Q. Gail Rodgers. But how do you then eliminate those
other organizations who are applying?What do you
disagree with you. But look, quite R. L.G. And I can't fileout of the room and let's honestly let'severybody sit them down and I'll bring the art galleries in and
Culture's budget show them this pie graph of Alberta. you know
divisions,And
that they'llsay to me,
"Well
your problem.You'regivingthosedamn there's
organizations some money. Now if you'd give us that wisely 'cause they never use that money money, anyway. Give us more money and we'lldo a better job." Isn'tthat what everybody's answer is? You know, "give us more money." So should I give to the students, I give
should
it to the galleries?
Should
I give
it to the
organizations?
R. Katharine Dickerson. I'm not even saying give the students more money. But I find itamazing that ithas
say to them?
been cut back to the extent that ithas. Q. L.G. Now the other thing you have to do is realize
Q. Jane Thomas. To get back to my question. How is it that you decide the level of support at which galleries
else. So you are getting your share Of help: your share
R. L.G. Say, "I'm sorry".
end and where organizations and individuals start?Do
you have an applause meter? Or measure
. . .
R. L.G.
We
do
now
have
a way
how
do you
to stop this. All gallery
grants, if the present regulations that are being
for-
warded to the Minister, if they are approved, then there
is a ceiling
on all grants
as art galleries. And
for organizations
as well
Since most art galleries have hit that ceiling, that willnot increase. That stops that game from then on in. Itdoesn't mean that they're not going to lobby removed.
still.Or
that they can't have
that ceiling
But at the present time, that'smy way of stopping itwas to put a ceiling on it.And to say, no more
money 'inthose areas. Q. Jane Thomas.
assuming
How,
ifthey are not going to go up,
then they are going to maintain the level they
are at now, what ig going to allow our organization
level of support to go up? R. L. G.
The
thing
I can
do
is go to the government,
like
-lastyear they allowed us 2% growth. This year I don't know what they are going to allow us. Now when you go to government
you sort Of say, "We
need
a lot more
money, the Alberta Crafts Council needs a hundred
million dollars." They say, "We'll do whatever you want but within 2% Of your growth." Well what's two percent? So then my job willthen be to put the increase
into the area that's next priority. The next priority has
to be organizations. Q.
Katharine
Dickerson. You
ha tte increased and
said that certain grants others haven't, it'samazing that
you're at exactly the same total for educational grants
that you were four years ago. I think ifyou take inflation into account, the increase in numbers of students,
and what was needed
credibly drastic cut.
even back then, it'sjust an in-
Right. But those students don't come R, LG. on our doors, but the art galleries do.
knocking
R. Katharine Dickerson. But the studentg are our future. R. LG. It doesn't make any difference. R. Katharine Dickerson. I would think that/ on especially the student level, it would be in the government'a interest to be a watchdog for their interests, 6
the galleries are there helping you as well as anyone
of help through the galleries,correct? R. Katharine Dickerson. Ifyou take a look at how many shows are in fine arts and how many shows are geared
to the craftsin those galleries,then in that case itisn't agreed Q. L.G. Oh, aren't you lobbying those galleries to get your share of the shows? R. Katharine Dickerson. Oh yes, you bet. Q. LG. You're making sure you're getting your 50% aren't you all?
R. Katharine Dickerson. Yes we are lobbying but no, we
aren't getting
it.
R. L.G. ThatG your problem. We
can only help them
and it'sup to you to lobby them and make sure they're doing at leastseven, eight, ten good craftshows a year. And do.
they of course love craftsdon't they? All galleries
Q. (Unidentified speaker). Getting back to something Jane's already asked. When
you sitdown with your set of ten or twelve applications from organizations and determine how to slice up the piedo you have a for-
mula or is itstrictly the person who nags the most gets
the most? Do you have an actual formula? Ifyou don't, aren'tyou justbuilding up two or three organizations to the detriment of the younger funds?
groups
that need
some
R. L.G. No, we work it on a formula. The formula is
25% of the cost of previous year's expenditure and in most cases, like this organization and the APA, have never really qualified for the grants they've received.
We've been giving them more money for. And
than they qualify
for all kinds of reasons, they are just starting
things like that.
In future the formula that we are advising to the Minister issimply this.50% of everything you've spent in the past on administration, that includes your newsletters, your cost Of executive travel, and things like that and 25% of cost of proposed projects. Q. Jane Thomas. But what you said about firstcome, firstserved. How does that work in this case. R. L.G. For organizations I have $26,000.00 this year. This year,
set down money
it is no first come, first served. is The money for the galleries, the Cabinet has agreed that is for the galleries. That other money is set down
i
i.
for the galleriesand is not to be used in any other way. is held there and the galleries will make That money application up to September 30 and any dollar not used
by them, I will then go to the government "they have not used those monies, may
monies over to the other area?"
and say,
I transferthose
Q. Peter Weinrich. But you did say that was a matching grant basis. Is that stillthe case? R. L.G. That's stillmatching their dollar, from the private sector up to a certain percent. . because I think there is an imR. Peter Weinrich.. there
point
portant
about
the matching
dollar
and
that
is because you've just said you've got 50% of their administrative costs of the association "in the bank" not matching.
R. L.G. We're
R. Peter Weinrich. No, no you're not matching. I understand that.But the point isthat itismuch easier to raise outside money, for activitiesof a visiblenature or projects. No corporation or foundation, or hardly any, will give you administrative money. That means that what you are saying is that if50% of the administrative money isgoing to come from Alberta Culture the other from the membership, really has to come 50%
. . . there really isn't another source for that. You might get advertising for your newsletter and things like that, if you count that in as corporate support. If you're a gallery, and itmight even be more true of the performing arts,you've got a lotmore chance of raising private money because of the constant visibility. Here's what we've really got. Basically, the
R. L.G.
government
About 25%
has
accepted
this policy
within
all the arts.
of what your lastyear's expenditure okay?
So the galleriesget 25%, no more. Not one cent more. And we're matching private dollars in those cases and ifthey haven't raised those private dollars they may not If I followed that through, we're even get the 25%.
handling all individual grants on that same basis. At
formula, so how do I do itforcraft areas? Let'stalk about the Alberta Crafts Council: 25% of everything thatwas spent to date, isthat good enough? On allyour 25%
projects, as well as your administration. Or want that instead? Is that whet you want?
do you
R. Peter Weinrich. Of course, we're probably better off with the administrative because, as I was saying, you can't raise money for your typist or your paper, because nobody
willgive you money
for that unless the
government does so or you raise it from your own membership. And you can raise money for your projects if this Council
They could probably catalogue
and
porate name
decided
to put on an exhibition.
get corporate money
things of that kind because
is there and
gets exposure.
charitable tax deductible donation for them won't mob
each other to do it.)
the cor-
Sure
it'sa
(but they
I put down
the policy
to the Minister, I gave organizations
the best deal of anybody.
Okay?
I said I'llgive you
of what you spent on administration in the past. No one else is going to get 50% of anything they spent. 50%
And
I'm going to give you 25%
jects, not JECTS! other
last year's
Which 75%.
Now
gives
expenditure,
you
I haven't
plenty written
these kinds of major organizations are the most important kind and therefore should be given the benefit of at the present
the doubt
Of your proposed PROPOSED
of time
to hustle
that kind
pro-
PRO-
for the
of policy
for
I've written
So
time.
the policy
as open ended, I've got itgoing both ways, rather than back or fowcard. I've got itgoing both ways for you. the 50% so that'sthe best I can do. The major stumbling block of this organization is to get some dollars going in the firstplace so itqualifies for more I've upped
money
from the government
and that'sbeen the major
problem. Incidently our travel program
budget has never than
been over spent. You've never applied for more
$5,000.00
Q. (Several audience members).
Really?
R. L. G. No, you never have. All artistsin thisprovince, visual and crafts, have not applied for more than In fact, take a look at this year you
$5,000.00
dividuals have applied for $3,513.34.
in-
because peoQ. Joan Vanterpool. Les, do you think it's ple think there's no money?
R. L.G. We've
Q. Jane Thomas.
done a good job, haven't we? Something
that I think we always tend
to miss out on is seeing the forest for the trees and something that is rarely addressed, having to do with Alberta Culture, are things having to do with more than policy. Money There
is a considerable
comes
about as a result of policy.
amount
of dissatisfaction
in the
province, partly through ignorance, but partly as a direct result of experience with your department. I
know there's a lot of people wondering about what the future includes, what the relationship of individuals, organizations and ment
197Cs
galleries to the Visual Arts depart-
will be. You've already said that since the early
you've played
less of a leadership role, that
you've started to hand some of the responsibilityover. But in my opinion we're not seeing that nearly enough. R. L.G. Jane, ifanybody's R. Jane Thomas.
got it,you did.
recognize that I am an exception as
an individual, but on behalf of the organizations,that I work for, that is not the case, What can we do and it
was mentioned earlier in group sessions,thatorganizations want more responsibility,they want to do things for themselves, all they need is a bit of help from you.
R. L.G.
First of all,realize this.The Alberta govern-
ment has a mandate:
legal politicalmandate
to serve
the arts. It will not delegate that mandate in any way whatsoever. Realize that. You have voted the govern-
ment in and you have voted an attitudeinto govern-
ment. It is not going to set up, at the present time. any outside structures to hand you the money. Every cent it has to give
R. L.G. There is one thing, when recommendation
to fund a
else in the entire grant program. In fact,local organizations get 25% of cost of proposed projects only. NO administration costs. The reason is we feel that anybody
away,
it will give away
with its own
hands.
It
is not in favor, at this time, of arts councils or boards which do the government'; job. The Minister takes that mandate
very, very
seriously and
at no
time Will
delegate it. Not only will she not delegate it to new
organizations, she will not delegate it to her staff.She
has the last word on anything. That's the first thing. Jane.
Jane Thomas. You mentioned the word undemocratic earlier,
in regard
to something
else. Policy
is not
for
7
two months
the Minister of Culture to absolutely and without exception decide. She is,as a representative of us, sup-
She
Art Gallery comes
never come together. anothermonth laterand they in fact what There is nothing unified,
posed to be acting on our behalf.
R. L.G.
later, the Edmonton
you said, is con-
tradicted by the other six months later. There is very
is acting on your behålf don't get me
little consistency.
very
and
little uniformity
wrong. When I say she has the lastword, in terms of the law, that means she is acting on your behalf. Policy is a responsibilityof the Minister. And the
That's
something you allknow and work towards and I'm quite
sure this organization will do much
more.
government approves policy.She introducespolicy with the recommendation
of government.
Only govern-
ment can approve policy and only she can introduce it.
Now you may make recommendationson policyatany
Note: This transcript was made in the best of faith; however it was not possible to positively identify
time you wish to the Minister. In fact,the more recom-
mendations
you make
the better, the more information
sorne voices on tape. If commentshave been
the Minister has got to work with. So please do make policy recommendations. Policy is not something which you will be invited into her inner office to sit down and work out. This is a politicalmatter done
misattributed,please let us know
corrections.
so we can make
within the house.
R. Peter Weinrich. The difference between arms length
funding, in other words through an extra board, and there's
a lot of argument
in the cultural
field about
that.
On the one hand itis free from politicalinfluence to a limited extent — as is frequently the case. At the same
Piece Print Information on these subjects! for articles on — that attention well ancerns problerns.
time itgives the politiciansa barbed wire entanglement to hide behind. They can say "on no, it'snothing to do with us. We give that money to an arts board."
What Les is saying is that you actually have direct access to the politicianswho do disperse the money. And
ifyou don't take any action, local businessmen
on
Jasper Avenue and bankers are into theirM.L.A. every five minutes, "My god, what are you doing about this, that and
the other
thing!
I lost monéy
last week
because
of your policy." Ifyou don't do that you simply have no influence. You simply have no influence whatsoever. And itwillbe reflectedin whatever happens in govern-
Craft, 10645
ment. But you need to be supportive of your minister,
63 Avenue. umonton
T6H
whenever he or she takes action on your behalf too
because it isn't solelythat Minister,it's at the cabinet level as well. At
least for a lot of things,
it goes
to the
I supportthe objectives of the
Cabinet. And whatthe Ministerneeds is to be pattedon the back for good things and kicked in the rear for bad things. And that message gets across. It'sas simple as
that. In this province
I think
you're
somewhat
in an dd-
vantage above those that don't have an arts board. R. Gail
Rodgers.
A
banker
has a professional
He can afford to pay him. We
tions.
lobbyist.
are volunteer organiza-
I want
I
the ACC
to work
Yes. accept my support and
subscription to Alberta
Craftforthe termch«ked. O
I year
Name
2 years
0
of the banker's lobby has grown
place. Now
the lobby can go and the government
R. LG. I think your best bet, if you really want to activate thig situation, your executive should all get
together with executivesof all the other visual arts
organizations from the province and collectivelyplan
your attack. At the present time you're using the one-at-a-time approach and it doesn'twork any betterthan no approach at all. That is, you come and see the Minister one day, and the Alberta Potters'Associationcomes 8
Oi
poatal Code
Merrü»r• ACC
rate
knowg damn well if they don't pay attention to it they
are going to get 5,000 letters.
CIL
Bill me
Crafts Council. Yes but itisn'tonly that organizåtion. If
you like, the power
c
3 years
I am a
pri nt
R. Peter Weinrich. But that's the purpose of the Alberta
because the bankersthemselveshave done it in the first
for me.
SIO.Ø
2 year, sm.co
I year $128)
year, $25.@ 3 year. S37.so
send to
"SUBSCRIPTIONS" Alberta Craft 10645 - 63 Ave. Edmonton, Alberta
T6H IP6
CLAY AND GLASS AT
Summerfest 1982
MUTTART
glass placed within of pottery, clay sculpture, blown glass and stained 'Clay and Glass at the Muttart" isan exhibition Conservatory. the four pyramids of the Muttart tropical and show (flower) with the distinct flora found in the arid, temperate, concert in performs The art work expression in harmony exhibition offering an intriguing opportunity to view artistic pavillions.The result is a unique
with nature.
Susan Abells Fridmane Exhibition Curator
Artists Brenda Malkinson Nick Rasmussen Tony Bloom maine Classen
Norman Faulkner Neil Liske
ShirleyRimer Charles Wissinger Jeanne Woytowich Faulkner
Neil Swanson Darcy Somerset Margesson Martha Henry Charles Hilton
John Chalke
Santo Mignosa
Lorris Williams
Sam Uhlick Marty Kaufman
NoboruKubo David Green Robert Held Pat Matheson
Elke Blodgett
SantoMignon
Stoneware Jar 1982
9
WENDY LIIMATAINEN
by Jane Thomas
A retrospective exhibition of the
had decided that the main components of thisplayground would be made out
centre, seems to represent one of these
Liimatainen would re- major turning points. It was created veal a fast paced evolution of activity out of a personal need, using an and thought. Eight years ago she was especially finely honed sensitivityto work of Wendy
weaving off the loom and spinning, kids, staff and five years ago exploring print and dye
knows well.
Painted
silk banners
foot floor loom,
twelve
then
moved
and
her
into the corporate world of formal proand endless selection and
posals
meetings. Her work
Board committee
at
playground" catalogues
pre-fabricated
components,
and
already
cern and nature.
"THE SOFTEST THING IN THE
UNIVERSE OVERCOMES THE HARDEST THING IN THE UNIVERSE. THAT WITHOUT SUBSTANCE CAN ENTER WHERE THERE IS NO ROOM.
HENCE 1 KNOW NON-ACTION.
THE VALUE OF
TEACHING
WITHOUT
WORDS AND WORK WITHOUT DOING ARE UNDERSTOOD BY VERY FEW."
Te Ching, by
Tsu
do to round out an income, Wendy
has
worked meanwhileJin other occupationg as well. As a registered nurse,
erable experience and insightwas gained
needs dren
freight
usually
given
and
what
it is they
really
want. It was an excellent"laboratory"
for stimulation and response trials. Somewhere in every artist's life, if
he or she is an artist in the-truesense
of the word, something gels to make all their experience come together. The
tarpaulins,
urethane
as highly durable marine
hatch
in
tents
"creative and airplanewings. The%anufacture
installed in
to various
companies,
specialized
ex-
poured
in concrete,
built of solid dy isobviously appreciative of the free
timbers. She observed that the last hand given her. "l am extremely forpeople to really have fun on the play-
tunate" she said, "l was
European
the bugs in one try."
allowed
to
ground may have been the designer create the whole environment. I and landscaper. created a set of objects that were acPoring over books on American and tuallyprototypes and I had to work out
play areas, she found examples that allowed children to create
their own. Raw lumber dumped
in an
"THE BEAUTY OF WHAT
open lot,for example, gave kids the
YOU
opportunity to decide for themselves
CREATE COMES IF YOU
ground would be and do. One author
from Louis Elan
on
a
daily basis, what that often
HONOR THE MATERIAL FOR WHAT ITREALLY IS."
their play-
the street is more
interesting than the playground.
On
the street, there is constantactivity; people coming movement
—
wanted
Perhaps
Silence
one of the most profound
and going, a diversity experiences in this work was Wendy's
of materials changing change
patterns and
a playground
need to practice communicating
ver-
constantly caus-
bally her ideas to a variety of people.
that would
work thread by thread, color by color
pro-
As
an artist works
solo, creating a
Vide the raw materialsand allow the and line by line there is usually no
children the freedom to use it in as needtocommunicate to thechoices
historical site for
educational purposes sensitized her to the difference between what kids are
proven
imagination, nothing was leftfor the dence from any Board to wing iton users to work out, itwas already there, such an innovativeconcept and Wen-
in the observation Of special groups. Eight thousand chil-• many
ViSitng the
engin-
available in of allcomponents was sub-contracted
then as a historicalinterpreterat the ed and influenced by people. Wendy John Walter historical site, consid-
and
panding the usual one woman "perforbecame. Once installdozens of dissatisfied she mance" to many workers. It to the would take special trust and confied, these playgrounds leftlittle
observed
Ag many artists and craftsmen must
search, industrial design
reinforced vinyl and
has now moved from thatwhich was several parks in the city,the more
inspired by external sources to that which is of a much more personal con-
to be
nylon —
the need) dy (who was charged to fill looked
is
had
eering. Fabrics chosen were nylon
The day care centre had an empty large landscape tapestrycommissions, playground space and funds to purproduced on a specially imported chase equipment. The more that Wenmethods.
the playground
outdoors, this decision
based on especially thorough re-
she
all of whom
a Board,
of fabrics. Since
ways as they could imagine.
"TAO ISA THING ELUSIVE AND EVASIVE. EVASIVE AND ELUSIVE YET THERE
IS A SYMBOL
ELUSIVE AND EVASIVE
IN IT
YET THERE IS A SUBSTANCE
IT."
IN
anyone. Indeed many
hired to carry out the work, it must be
preconceived
in minute detail."Ifyou
can visualize the"work, you must get thatvision across, right down
seam sume
to what a is to look like. I learned to as-
nothing.
I used
to think
that just
because I can visualize something
then everyone
h:rn Chew
artistscreate as
they go. But when other people are
realize
now
else must be able to. I
abilitruly successfulart works that follow ty.This realizationhas helped me gain are those that the artist creates from Working all the time with the board, confidence inmyself." the heart/ not influenced by trends or staff,parents, children, technical exIf people grew growth Wen-
what art "is supposed to be". Wendy"
most recent work, a play-
ground at her daughter'sday care 10
perts and
sub
contractors, the pro-
that that is a special
rings, dy'8 ring for this past year would
posal, budget and maquettes were especially Wide. A
be
marriage break-up,
worked through several stages. She moving to her own apartment and us-
k
ing her car as her
studio ("that'swhere
PLAYGROUND CONCEPTS
kept my tools") was one set of major
Another
was a special session at Banff
Centre. It was an intense, even traumatic experience where other artists
pushed her to talk about her ideas. "l
couldn't and I wouldn't," she said. She that her finished art was adamant
works said all that needed to be said, anything else was frivolous.
"YOU MUST KNOW, TO FEEL YOUR INTUITION, BUT YOU
MUST NOT TRUST YOUR KNOWING AS SOMETHING
BE IMPARTED TO
THAT CAN
ELSE.
SOMEONE
YOU
TRANSFER YOUR KNOWING INTO THE WORK YOU DO, AND BEST IS YOUR THAT CHARACTER." Returning trated and began
extremely frushome she slowly depressed,
to let her
ideas
surface
to a truly
conscious level. In retrospect she ys, "l had always sublimated my deas. I knew what they were but I
didn't think Other people would be interested. I tended to disassociate myselffrom my work in case people didn't
it."
like it. Now
The
do
I just think:
jolt received
that's
at Banff sparked
and accelerated Wendy's verbally communicate
it and
desire to
the ideas in her
She own work and the work of others.
is an avid reader of mysticism, universal spirituality,architectural philo-
sophy and
the new
consciousness.
"WHAT JOY IS THERE IF JOY IS
BURIED. 1 THINK JOY IS THE KEY WORD IN OUR WORK. IT MUST BE FELT.IF YOU DON'T FEEL JOY IN WHAT YOU'RE DOING THEN YOU'RE NOT REALLY ALIVE.THESE ARE MISERABLE MOMENTS YOU HAVE TO LIVE THROUGH BUT REALLY, JOY WILL PREVAIL." Rhcm
l) Garden Framed
in cedar.
children
to
flowers, di
plant
plot for
Small
and
vegetables
for earthworms.
2) Table ictivity Area
Quieter area for kids who don't want
to be in active play. Invites blankets
and toys. Eight, octagonal child size tables with fibreglass canopies serve for snacks and games.
3) Fence
Multicolor.
painted
link fence
Existing chain
bright yellow.
4)QuietArea Ground Surface Covered
Grass
with indoor-outdoor turf.
too difficult to grow
ficarea.
traf-
in high
5) Tent Slide
5 foot high, 18 square feet,pyramid
shape.
Nylon reinforced vinyl with metal understructure. To ascend: one face has hand loops
to use as pulls, one face has webbing
that can be climbed ladder-like.
slide.
Other two faces bouncy
6)Boulders
33 fabric cubes from 16 cubic feet to I cubic foot.
Rest on 18 x 20 tumbling mat. Mat rests on wooden grid for drainage.
Ropes connect boulders. Fastened
to ground
hole in grid. In-
through
spiredby Christofilmon Wrapping
the West Coast. Workers shown putting fabric over large boulders and trying to tie it down.
thought
said, "I
Wendy
wouldn't it be
wonderful
if
under that fabric it was softand you could jump from boulder to boulder."
7)Hammocks
Posts set in concrete. Freshwater
fishing nets (often used as goalie nets)
strungbetween. 8)Sandbox Unit
boxes,
Interlocking
irregular
Fitted with shapes. and heights sand for form to wet sprinkler and hose
making.
9) Construction Sets of dowels
Units
set upright
Eye hooks screwed and loose dowels.
in stands.
into top of standing
40 small tarps fitted with hooks and
grommets.
Can
be fastened to other
playground components or each other.
10)Murals
kA)liver Day Care Centre
COST
$40,000.00 all inclusive
COPYRIGHT ON ALL
COMPONENTS Wendy
Liimatainen, 1982
Polycarbonate (acrylic like) panels fastened to school wall. Opens to allow
children's art works to be fastened. Mural constantlychanging;
Il ) Chalkboards Permanently
installed on
school
*dockl
wall.Chalk pouchesinstalledin wall. All phot* by Ene Thomm
Quotations accompanying
this article
are some that inspireher most. She says, "I want to learn everything. The
more you read the more you understand you don't know." Wendy
is consulting now on the re-
development of another playground and getting excited "about doing toys and functional sculpture that'sknock-
down and not be at all elitist. I'd like to make
sculpture that just folds up and
packs away like an Ikea chair."
About her past, present and future work she says, could have kept on
weaving those landscape tapestries and sold them everywhere. But I knew
thatwasn'tenough. I wanted another
level and decided to just jump off into
the unknown".
The firsttime I visted the play-
ground,children swarmedaround
and in the components. members
Two staff
relaxed on the boulders
A group of as though furniture. boys jumped up and down, boul-
der to boulder pretending they were
diving
catch fish.
and
swimming
to
A group at the back pulled the
construction units out and
pro-
ceeded to make "a whole bunch of
apartments •and places to change
my clothes." Five year old Melissa fastened
a
tarp
around
her
shoulders and became Superman.
Asked what she liked to make most
of all ghe said, "tents. The only
thingwe can'tmake are motorcycles." Her friend said, "Oh
yes
we can. Look. Vrrrm. Vrrrm." Three children climbed into the
hammocks, wrapped themselves completely around
ting and begged
with the net-
others to swing
them. Gales of giggles came out of the resulting spinning "cocoon".
Two
mocks
boys in the other hamsaid, s'100k, we've
got
boatg'%The loose dowels they'd Ingerted through the netting made
dandy oars.
Four smaller children sat at the
tables making
bubbles and tasting
fresh rhubarb. The goundg of the children speak loudly of Wendy Limatainen'g success.
Jane Thomas
12
Hammocks
photo by Jane Thomas
Mini-Reports
The Alberta Crafts Council has invited craft associationsin the province to submit brief reports on their activities. It's another way for getting in touch. We'd like to hear from all members and other interested organizations.
La Société des amis du Fléché
by Rita Potvin, member
who has seen picturesof
Anyone
carnaval" at the Quebec "Bonhomme winter carnival will note the highly colourful sash worn around his waist. This sash is called a "ceinture
fléchée", the name
sash or belt".
rowhead
meaning
people
weaving
have
genuine
"ceinture fléchée" is
third longer than the required length.
The colors are selected and placed in
"ar- postion to produce
Woven sashes are as old as man and can be found allover the world. Most
indigenous
The
woven by hand. Strands of wool are chosen and cut approximately one-
practiced
in various forms for centuries
The weaver
the effect sought.
startsweaving
the sash,
strand by strand, working out the design. The weaving is long and painstaking and can only be described
as a work of love. These sashes must
the "ceinture fléchée" is
not be confused with those made by
waistbandswere These distinctive
ed immediately because the motif is on both sides; not reproduced
although
notably a French-Canadian
craft.
worn by some of the early settlersin the new colony, by "coureurs de bois" and by the "voyageurs", but itwas not
until the 19th century that they became widely popular. The handmade sashesmade of wool and imbued with beeswax for waterproofingwere
often 15 feet long and up to 12 inches wide. Wrapped twice around the waist
in all kinds of
as pockets for their tools, knives, pistols,tobacco, pipes, gun powder
and even a flask of liquor. In some
cases they even served to fasten small
French and English are used as languages of intruction.
A group workshop isheld the third Wednesday of every month. For further information contact Mrs. Eglande Mercier, 9835 - 167 St., Edmonton
3W2, telephone 489-4417.
ceintures, the warp threadsbecome
the weft threads alternately and change
colors. The motif is reversible,
the same on both sides. The design of the sash varied in dif-
and "W" marks in Charlevoix. More than 20 different types have been
all day
with a
the same color. In the case of genuine
loads, and in particular as a lowerback warmer for the voyageurs paddl-
weather.The trappersoftenused them
is open to anyone
desire to learn the craft and both
moreover, the weft threads are always
ferent parts of Quebec. Lightrung flashes were used in I'Assomption; ar-
ing canoes
Membership
machihe. Imitations can be recogniz-
and then knotted, the sashes acted as
heavy back supports when men lifted
created by Alberta craftspeople.
rowheads in Deux Montagnes and recorded
in
provincial
throughout Canada.
V
museums
It was not until the advent of Canada's centennial in 1967 that a few interested persons got the art of mak-
ing sashes under way to such an extent
parcels and carry bags. The sashes that editors and artisans got together and within a few years, had aroused were made so sturdilythat some were the public interest to the extent of worn more than 60 years.
The sashes were also used on
special festive occasions to add
touch of colour to the drabness every day clothes.
a
of
publishing books about the craft and creating workshops for apprenticeship
and exhibition centres for traditional and modern works of art.
Making handmade sashes took Mme many hours of meticulouswork and Quebec were in great vogue from 1820 to the 1880's. Machines were eventually designed in Great Britainwhich could
make
them
Frangoise Bourret from
came to Alberta to give a demonstration and a course in fléché. La "Société des amis du fléché" (friends of the arrowhead) was found-
a lot faster and a lot ed in Alberta in 1976 and presently
cheaper. Although the quality was has ap oximately 40 active members. much inferior,the cost was also much Mrs. lande Mercier, president of cheaper. In trying to compete, the artisan received so little money for demonstrations or courseshave been original handmade sashes that before given in places as far north as Fort and Yellowknife and as far long this type of employment was vir- McMurray south as Lethbridge. A few members tuallyabandoned. For years almost no have become truly fine craftpeople
the Société, indicates that to date
sashes were made, with the result that the secret of making them was almost lost.
and act as instructors for the courses
given.Many new designshave been
13
T5P
WHAT'S UP Orland
Larson, President of A.C.C.,
has resigned
for health reasons. Katharine Dickerson, a director of
A.C.C.
and textileartistfrom Calgary, will replace
him as president. Jane Thomas,
for three
months.
regular newsletter editor, is in Europe
The SUB Art Gallery at the University of Alberta in Edmonton closed as of June 30, 1982. Anyone having
outstanding business with the gallery should call SU
Executive Offices, (403)432-4236.
Several Alberta craftspeople were at the CCC ference in the Maritimes in September — more this next issue.
Con-
about
The Newfoundland and Labrador CraftsDevelop-
ment Association doubled last year's figures at their 1982 Summer Fair — encouraging news in a time of recession
!
The Banff Centre is celebrating its50th anniversary
with a Homecoming
For more
Week,
April 30 to May
8, 1983.
information, contact the Banff Centre, Box
1020, Banff, Alberta TOL OCO or phone (403) 762-6207. Canada Council Exploration Grants — closing dates
for 1983
are January
Apply to:
15, May
I, September
15.
use of hazardous products, forward them to Mr. J.
Black, Director, Product Safety Branch, Place du Por-
Quebec KIA OC9.
of proposed
synopsis
bell, 243-0463.
Exhibition — Feb. 23 - Mar. NCECA Juried Members Juried from 30, 1983. Open to allmembers of NCECA. 3 slides of up
nie Dowhie,
to 3 works.
No
fees or awards.
Info: Len-
Art Dept. Indiana State University at
Evansville, Indiana 47712. Weavers
Weavers'
—
up to $ 1200.00 in prize money.
Journal
a written
Submit to
article on a successful
pro-
ject in which you used a weaving technique in a
creative way. Enter your project in one of the following
categories: Rugs, household furnishings, handspin yarn, woven projects, handwoven clothing. Info: The Weavers' Journal, Box 2049, Boulder, CO 80306. Con-
testdeadline: April 15, 1983. New Glass Review 4 —
All glassmakers and comGlass Review
design per slide. Deadline: Jan. 10, 1983. Info: The
observations on health hazards to craftsmen and the
Zone
, and
quested to submit 3 slides,illustrating one work or
ifyou have any comments or
'1 16th Floor,
work
lectures and workshops. Mail to Calgary Quilt Conference 1983, c/o Leisure Learning Services, 3630 -2nd St. S.W. ,Calgary, Alberta T2S IT8. Info:Carol Camp-
4. Glass designed and made during 1982 may be submitted for this annual survey. Participants are re
255 Albert street, P.o. Box 1047 Ottawa, Ontario KIP 51J8
tage, Phase
3 color slides of current
panies are invited to participate in New
Explorations Program Canada Council
Health Hazards —
Quilters — applicationsare invitedfor quiltersto act as resource persons at the Calgary Quilt Conference, Sept. 9 - 12, 1983. Submissions should include resume,
4, Victoria
Street,
Hull,
Corning
14831.
Museum
of Glass, Corning, New
Fiberarts Design Book —
publishing a second niques
York, USA
FiberartsMagazine
is
Fiberarts Design Book. All tech-
in fibre executed
in the last 3 years.
Jan. l, 1983. See Fiberarts Magazine
Deadline:
for details,
The VictoriaHandweavers and Spinners Guild is happy to announce we are hostinga weaving con-
CALLS FOR ENTRY
ference at the University of Victoria in May
1984, to our golden anniversary. In this connecwould like to hear from all enthusiastic,
commemorate
Artistsand Photographers — "We inviteyou to submit your work for exhibition at our galleries."Contact
tion we energetic and qualified persons interested in conducting workshops/seminars in areas related to allaspects
310).
plication deadline: May
Donna McAlear, Gallery Coordinator, Community Programmes, Edmonton Public Library 423-2331 (ext.
Biennal de Tapisserie de Montrealwill be held in
Montreal
during
the fall of 1983.
time to allCanadian Deadline
It is open
for the first
citizens.(three years residency).
for presentation of dossier is November
I,
1982. For more information: The Secretariat,Biennale
de la Nouvelle Tapissene Quebecoise Inc., 1627Sherbrooke Street West, Montreal, Quebec,
H3H
IE2.
Breaking with Tradition — a juried quilt exhibition to
held at Oakville Centennial Gallery October 20 -November 28, 1983. Non-refundable fee of $10.00, maximum three entries per person or group. Deadline
for slides, entry form and fee 1st May, 1983, For more information: Oakville Centennial
Street, Oakville, Ontario, L6J2Z4. 14
Gallery, 120 Navy
of fibre work. Write for application form to: Ruth Arnot, 1574 Despard Ave., Victoria, B.C. V9S IT3. ApI, 1983.
InternationalPaper Conference, Japan, 1983 —
cerned
almost
exclusively with handmade
con-
paper,
Kyoto 18 - 21 February, 1983. Post conference tours are
being arranged. For further info: Executive Commit-
tee, The International Paper Conference, c/o The International Craft Centre, ABL Bldg., 3F, Gion-Machi, Higashiyama-ku,
Kyoto, Japan, 605.
International Design
Festival and
Competition
—
Japan, 1983 — to be held in the fall of 1983. The brochure isunclear, but the deadline for entry seems t
have been the end of October 1982. The theme for the
design isthe Chinese character 'shu'.Further inquiries
should be directed to: Japan Design Foundation, Sem-
ba Centre, Bldg. 4, Higashi-ku, Osaka, 541 Japan.
More of What's Up (National Council on Education for the 1983 NCECA Ceramic Art) will be held in Atlanta, Georgia, March Georgia State 16 - 19, 1983. Info: Don McCance, University, Dept. of Art, University Plaza, Atlanta,
in the Arts 1983. A conCelebration of Women have ference "to celebrate the contributions women made
Applications Study Fibre Arts at Grant MacEwan. and portfoliosaccepted three times per year. Contact:
The Registrar's Office Grant MacEwan
Community College Box 1796 Edmonton, Alberta T5J 2P2
to the arts in Alberta. To explore the ties that
unite us. To put into focus the spirit,joy and love of our art.To gather together the widest possible audience for in literature,theatre, film, music, it all." Women
dance,
visual arts. Performances,
seminars, exhibitions and member
donations
much,
workshops,
much
more. $5.00
solicited. To be held
being
at Grant
MacEwan Community College,Edmonton,May 12-15, 1983. Contact
in the Arts,
Celebration of Women
10645 - 63 Avenue,
Edmonton,
4344465).
T6H
IP7 (phone
Shows/Sales/Exhibitions O
EDUCATION
Multicultural
Workshop
Centre,
Stony
Plain
in the Art Gallery, December
Kinsmen Fieldhouse,Edmonton —
1982. For more
TMVEL
Arts and Crafts in China — Canadian China Society is organizing a tour to China in 1983. Emphasis on pot-
tery and weaving, group limit25. Info: Moira Mudie, 139 Citation Drive, Willowdale, Ont. M2M
(B'.rLng
Western Works Calgary Christmas Show and Craft 25 - 28,
Way To
Edmonton ChristmasShow and Cameo Consultants Commonwealth
Stadium, December
2-5.
The U of A Faculty of Extension
sions to the Glenbow, January.
one on Dec. Il, 1982 and one in
women,
Nickie Arts Museum, the Glenbow,
is coming
WASHARE IDEAL GIFTS — CUSTOM DESIGNED — LACE TRIMS —
:
1
453-3297
Pleæe Publish this Important Notice in Alberta Craft!
to Calgary, not to the
etc.)
as previously announced,
December
Ya..r
Ofdarkblue,
porcelain plates and embroidered runners commemorating
Emir.
Winter-Bag your lin'e ones, Ideal for sleds. carnages. ecl Made from nylon and
and The Ring House Gallery are offeringtwo excurVariations in Vessels — Group show by Alberta ArtistsOctober 13 — November 3. The Art Workshop's Front Gallery, 4624 - 99 St., Letourneau Centre, Edmonton, 434-5090. Judy Chicago's Dinner Party, an exhibition of
IT3.
avinovac a
The Goldeye
The Dinner Party —
and Art Gallery
14 - 26. 1982.
course. November
Foundation is presenting a Christmas Bazaar. Dec. 4, 9:00 a.m. to 9:00 p.m.
Craft Sale —
of
5-7 ,
Box 1020, Banff, Alberta TOL
or phone (403) 762-6100. Also at the Banff Centre. a Museum
OCO
Management
November
information, contact The Banff Centre
Santa's
1982.
at the Banff Centre,
School of Management,
I - 23.
Sale — Calgary Convention Centre. November
Seminar for Board Members
Boards Management
Arts Organizations
but to 3, 1982 to February 27 , 1983.
ard
in
c.v«.
1
A Red Arrow Express bus is being chartered from Edmonton to Calgary sometime in January to see the show. For further info., contact Lee Beams,
9922 - 114
St.,Edmonton. Phone 482-4558. Edmonton Weavers' Guild Annual Sale — Saturday, November
Edmontom
6. I -4 p.m. ACT
Centre, Rundle Park,
AtlanticVisionsde l'Atlantique— watch for this
show, which opened
on Sept. 23 in Charlottetown and
will be travelling. It is a juried show of Atlantic crafts.
to:
Alberta craft.
• 63 Avenue.E.anootÄTSHIPO,
15
TIME TO CO-OPERATE? by Maggie
It is becoming
Morris
increasingly
evident,
at least to the
founding members of Artspeak, that the Alberta arts community (including amateur and professional artists in all fields, educators, commercial organizations dependent on the arts, parents of children in arts programmes and interested public) lacks the collective voice and cohesiveness enjoyed by many other interest groups within Alberta. People in Alberta work together through societies, federations, and associations. Teachers in Alberta achieve solidarity of purpose through the *Biberta Teacher's Association, Alberta labour unions unite through the Alberta Federation of Labour. School Trustees come together as a unified group through the Alberta School Trustees Association, as do municipal councils through the Union of Alberta Municipalities. Most of these groups have a common structure — locally autonomous members affiliatingat the provincial level for the purpose of carrying common positions and goals forward at the provincial level. These common positions are usually established at an annual general meeting (AGM) of affiliatedgroups. It is at the AGM that provincial guidelines and policies are hammered
out through the democratic process of debate and
resolution carried by voting members, While there are many arts groups which represent specific segments of the arts, i.e. Alberta Choral Federation, Canadian Band Directors' Association, Alberta Chapter of Dance in Canada, Writer's Guild of Alberta, ATA Fine Arts Council. the Allied Arts Council,Alberta Crafts Council, Canadian ArtistsRepesentation, etc. no other multi-disciplinary group has arisen on a provincial basis with the capacity and desire to act .3 as a catalyst to bring the separate groups together for the achievement of common goals and objectives. Such
an organizationwould generally enhance the growth and
improvement
of the art environment
in the pro-
vince. Artspeak has the potential to be this proactive
group!!! Service to affiliatesis another common role of the many federated organizations in the province. Most provincial organizations provide research and training
to their affiliates. Arts groups in Alberta are crying out
for skill development workshops, information exchange, and opportunities to discuss their problems
and their needs. Without such skilldevelopment and information sharing opportunities, isolated groups
waste a great deal of creative energy learning through trialand error what another group in the province has already learned the hard way. This seems to be a
dreadful waste of human
energy
realistic for narrowly-focused
talent. It is not
and
arts organizations
to at-
tempt to maintain provincial offices with the attendant most administrative overhead. The economic reality
provincial organizations is grim. Everything costs too much! Too few people trying to do too big a job. What better time to begin a discussion which would lead to a co-operative model of shared office space, shared
equipment, and shared operating expenses. Such
discussions could be facilitatedthrough Artspeak. If all groups related to arts in Alberta were to join together through a loose association itwould be possible to work together at a provincial level to solve some oi the difficultproblems facing individual arts groups
Such a group would provide a mechanism
througl
which the Alberta arts community could arrive at common positions and act to influence the course of the arts development in Alberta. Artspeak could begin to work towards recognition of the contribution made by the arts community to tourism, recreation; job creation, and education in Alberta. It could also formalize the relationshipbetween the Alberta arts community and the Canadian Conference of the Arts operating at the national level.
A model for Artspeak might be
Arts" which
or CLOUT
is a state-wide organization
for the
in Minnesota
which is a province-wide organizaton in
Ontario. These are organizations of artists, art consumers, and art associations, Minnesota's goal is to ensure that all residents of the State have access to, opportunity for, education in and enjoyment of all the many aspects of the arts.
We have a long way to go ifwe are
part of the goals the Minnesota
to achieve any
organization has set for itself.But if we,are to begin at the beginning, people who share an interest in the arts will have .to come together as a community of interests. If Artspeak is to grow itwill need the support of all people interested in seeking improvement in the status of the arts in Alber-
ta.