ALBERTA
ISSN 0714-8127
CRAFTS
COUNCIL
Vol. 3 No. 2 JUNE/JULY 1983
2
/ALEER.Ü CO Inmrporated 1980
CIL
Alberta Craft is an official publication of the Alberta Crafts
Council. It is published 5 times per year: Sept., Nov., Jan., March, and May . Copies can be obtained from the office of the Alberta Crafts Council. Manuscripts, letters, black and white photos and news items on regional, local, national or international topics of interest to Alberta craftsmen should be sent to the editor c/o the address below.
All material in this publication is copyright and cannot be reproduced withoutpermission of the ACC. Member associations may reproduce any material not specifically marked O copyright. Opinions expressed in articles which appear in Alberta Craft do not necessarily reflect those of the
ACC.
Membership
Index
Alberta Craft
NEWS
Apprenticeship Pilot Project Page 4-7 WoodworkersAre Coming Page 7 Out of the Woodwork Money, Get it, Got it, Good Page 8-9
NEWS NEWS At the ACC's annual general meeting in May a motionwas put forwardto change the ACC's membership structure. Until recently the government of Alberta restricted all
"councils" membership to other organizationsonly. A change in this government policy has meant that the ACC can now sell memberships to groups AND individuals. In September the motion will be legalized and full details printed in Alberta Craft. Meanwhile this is what's being legalized:
CATEGORIES For Individuals - Student category - Individualcategory
FEES $12.50 $20.00
For Organizations - Associate
- Regular voting - Commercial
$35.00 $50.00 $50.00
Alberta Craftsmen to Swaziland
Page 10
Call for Entry If You Were a Piece of Clay
Page11
Contest Winner Whats Up
Page 13
Page 12
Page 13-16
Alberta Crafts Council Objectives a) To encourage.the development and furtherance of crafts and
other manually controlled technologies in Alberta.
b) To further research and education in all aspects of crafts and manually controlled technologies.
c) To co-operatewith all public and private agencies, international, nationalprovincial and local and with federal, provincial and local authorities in encouraging the development of and furtherance of
crafts and other manually con-
trolled technologies. d) To solicit and receive funds by
BOARD OF DIRECTORS PRESIDENT Paula Gustafson VICE PRESIDENT Anne Ewen
PAST PRESIDENT Duncancurrie
TREASURER
SECRETARY
MEMBERSHIP EDUCATION & OUTREACH MARKETING
Tom Tombs Lorraine Oberg Lorine Marshall Katharine Dickerson KatherineAitken
Alberta Crafts Council
Address: Alberta Crafts Council
10645- 63 Avenue Edmonton,T6H IP6
way of contributions,subscriptions, legacies, grants or by any other lawful means and to receive gifts and property of any descrigy tion.
Phone: (403) 434-0953
e) to undertakeall such things as are necessarily or incidentally related to the attainmentof the
COVER
f) The Society shall be a non-
Apprenticeship Pilot Project participants: Richard Selfridge, Sharon Semeniuk and Carol Selfridge. See page 5.
g) The Society is to carry on its operations without percuniary gain to its members and any prc)fits or other accretions to the Society are to be used in po
Photo: David Goa
object of the Society.
partisan, non-profit,non-sectarian charitable organization.
moting its objects,
3
o
Representing over 3, 165 members MEMBER ASSOCIATIONS I. Alberta Potters Association 2. Beaver Flats Pottery 3. Calgary Guild of Needle & Fibre Arts 4. Camrose & District Craft Centre 5. Canmore Artists & Artisan's Guild 6. Ceramics Canada 7. City of Fort McMurray,Cultural Services 8. Drumheller Allied Arts Council 9. Edmonton & District Quilter's Guild 10. Edmonton Needlecraft Guild Il. Edmonton Potters Guild 12. Edmonton Weavers Guild 13. Fairview Fine Arts Society 14. Great Western Artists :15. Handweavers, Spinners & Dyers of Alberta 16. Heritage Weavers Association of Calgary 17. La Societe des Amis du Fleche, Edmonton 18. Medicine Hat Fibre Arts Society 19. Northern Alberta Woodcrafters Guild 20. Oidman River Potters Guild, Lethbridge 21. Olds Handicraft Guild 22. Parkland Potters Guild, Stony Plain 23. Parkland Weavers Guild, Red Deer 24. Parkland Woolworkers & Weavers, Stony Plain
25. Rocky Arts & Crafts Guild, Rocky Mountain House 26. St. Albert Arts & Crafts Guild 27. St. Paul Arts & Crafts Club 28. Simonis Art Gallery Limited, Red Deer 29. Steeple Artworks Artists Society, Calgary 30. Strathcona County Weavers, Sherwood Park 31. Sylvan Lake Heritage Handcraft Society 32. Visual Arts Community Albert 33. Wainwright Arts & Crafts Center 34. Western Works 35. Wetaskiwin Allied Arts & Crafts
PRESIDENT'S
MESSAGE
Summertime is a busy time for many craftspeople. It's also a busy
time for the Alberta Crafts Council. We have two major projects in lull
swing — a MarketingProject and an ApprenticeshipProgram. Based in Calgary. the MarketingProject employs Jane Squier, Bcbbi Brownridgeand MelanySmith. under a Canada Community Development Project grant. They are conducting a survey to locate and identify craftspeople. their crafts and the market for crafts. This project was started in early 1983 and will be completed by the end of the year with a comprehensive report on the numbers and needs of craftspe$e throughoutthe province. In conjunction with the marketing survey, the Council has also issued a call for slides from Alberta craftspeople.These slides will form the nucleus of a slide registry for the proc-notionof Alberta crafts. One of the difficulties the Council has experienced in the past is a lack of informationaboutAlberta'scraft community.Geographical distances often prevent us from keeping in touch with one another. The information gathered by the Marketing Project will assist the Council to plan activitiesand events which we hope will alleviate some of the isolation we all feel frorn time to time.
ACC's second major project — the Apprenticeship Program — involves a totalof eight peopleand operatesunder federalSummer Canada funding. This is the first formal craft apprenticeship program conducted in Canada and, as such, marks an important turning point in the developmtent of a nation-wide crafts industry.
These projects. ranging from on-the-jobtraining and information sharing to reaching out to individualcraftspeople in every corner of the province. emphasize the diversity of ACC's activities. In addi-
tion, our administrativestaff — Jane Thomas, Ellen Mitchelland Valerie Skuba — are actively engaged in the day to day operations of the Council's business.
On behalf of the other new members of the Board of Directors, I offer sincere thanks to formerExecutive Officers and Council represery tatives for their efforts in bringing the Alberta Crafts Council to its pre-
sent level of responsiveness and vitality. Our challenge for the com-
ing year is. to continueto developthe excellence of Albertacrafts. buildingon the broadbase of interestsand concerns expressed by our membership. Paula Gustafson President
Note to All Readers
o
After 23 active years in the marketing and development of Alberta crafts the Old Cabin Crafts Society in Calgary was dissolved as of May 17, 1983. Due to the recession and a need for "outside" support that was not forthcom-
Ing, the Society was forced to close after doing $1
in sales.
Ralph Turner, Head Of Exhibition. British Crafts Council setting up jewellery exhibitlon during universiade '83
4
UPDATE
ACC Marketing Project Attention ALL Craftspeople The Alberta Crafts Council MarketingProject is now
circulating its marketing questionnaire. We would like to
contact all craftspeoplein the province from the byist to the full time craftsperson. If you would like to receive a copy of our questionnaireand an application for submission to the Alberta Crafts Council's Slide/Port-
folio Registry, please write or phone this office:
ApprenticeshipPilot Project
Council (ACC) receivIn May 1983 the Alberta Crafts Employment and Immigraed a $24,196.00grant from program to introduce the tion Canada, Summer Canada project, to run from The ApprenticeshipPilot Project. May 25 to August 26, 1983, is now underway and indications are such that it will prove to provide an exciting summer for a number of students and professional
craftsmen.The ACC wishes to publically thank Mr. Marcel Lambert, Member of Parliament, Edmonton
270-2838 or write ACC Marketing Project, 101 , 429 -14th
West Federal Constituency for his support in the funding of this project.
The Slide/PortfolioRegistry is open to any interested craftsperson in this province. Submissions will be used to establish a resource centre at the Alberta Crafts Council's main office in Edmonton.The purpose of the registry Is to recognize and publicize Alberta craftspeople to a wide range of interestedgroups such as retailers,designers, museums, architects, educators, researchers and the media.
The project is comprised of 5 student craftsmen matchedto 5 professionalcraftsmen plus 3 students
Street NW, Calgary, Alberta,T2N 2A3.
Open Letter
to the Honourable Peter Lougheed,
the CabinetMinistersof the Government of Alberta, and the People of Alberta.
As Canada's fourth largest employer, we of the cultural
industry, protest the funding freeze to Alberta Culture, whichincapacitatesits abilityto fulfillits mandate to the cultural industry in the province.Culture is the least funded ministry, and over the last decade has laggedfar behind other ministriesin terms of annual increases. A funding freeze at this time severelypenalizesmany individuals, institutions,and organizations, who have workedwithdiligencetobuilda high levelof performance and achievement in Alberg. We ask members of the business communitywho benefit from cultural dollars
spent, and the generalpublic,whoalong with their children and the senior citizens benefit from cultural programs,to write letters to their MLA's and the
HonourablePeter Lougheed, attesting to how the freeze on cultural spending willaffect them. The following organizations endorse this letter. CraftsCouncil Museums (Alberta)
ECT
Artistes
53
W
Nergo"
West
RCT.RA.
Light
Scrietyof NorthernAlbertaprint Artists
who will manage the project and carry out research on the subject of apprenticeship. The purposes of the project are: 1. to carry out a pilot project to introduce, offer, research, test and evaluate apprenticeship situations for students enrolled in art/crafteducation programs 2. to provideprofessionalwork experience for art/craft students by matching with compatible, prominent, professional craftsmen 3. to assist and encourage the growing demand for skill-
ed craftsmenas employees 4. to encourage on-goingself supporting job opportunities in the crafts
On the research end of the project, the literature
search is world wide and will include sources within the
Canadian Crafts Council, the American Council on prenticeshipin Art and Craft, medical, legal and trade associations and many individuals. A questionnaire has been prepared and has been cir-
culated to a randomsampling of Alberta craftsmen to respond with their information,ideas and concerns in the
subject of apprenticeship.A compilationand analysis of
all collected informationwill serve to form future policies and plans of the ACC in education.
If you are interested in the subject of apprenticeship and want to help affect the future of apprenticeship in the crafts, now is your opportunity.Students, professional craftsmen, emerging professionals and educators are urged to make their views known to the ACC, by letter or by questionnaire completion. For further informationcontact: Apprenticeship Pilot Project Headquarters Project Manager, Wayne Lissack Room 425, Grant MacEwan CommunityCollege 10045 - 156 street, Edmonton, T5P 2P7 Phone: 483-4312
5
Apprenticeship Pilot Project Pirkko Karvonen
Pirkko Karvonen is a weaver working out
of her studio/home in Sherwood Park. She Is an active exhibitor and Instructor, and fully intends to give her apprentice the benefit of
her expertise. "I can Offer the apprentice a
chance to work with a person who has ex-
perience in weaving. in running a studio, marketing final products, making proposals, etc."
Aside from the main activity Of weaving, Pirkko will also introduce a variety of other activities, including natural dying, construction Of woven toys, rugs, wallhangings. and
even some basic bookkeeping.She would also like to see her apprentice explore some of her own ideas.
certain skills and aesthetic sensitivities
"A few years ago I had someonework with me for a year. I would like to try it again. I feel that my past experiencewould help me to set up a good apprentice
thatcan only be passed on in a real work' ing situation. The Apprenticeship Pilot
Dana Shukster
Richard Selfridge, Sharon Semenluk, and Carol Selfridge Richard Seltridge and Carol Selfridge
Together as Selfridge Pottery Studio,
Carol and Richard Selfridge have been mak-
ing domestic stoneware and porcelain for about ten years. As well as supplying pot-. tery to galleries and gift shops across western Canada, they host two open studio sales a year and have done numerous com-
missions and presentationpieces for the
Alberta government.
The Selfridges "value the traditional aspect of the potter'scraft, making mostly functionalitems involvingthe presentation and storage Of food." They make their own clay, porcelain and glazes and have designed and built their own gas and wood kilns.
Although their major consideration in the making of functionalpottery is form, their pots are "not meant to be intellectual exercises, but to reflect a lifetime committment
to function, beauty and fine craftsmanship." Their hopes about the Apprenticeship PilOt Project are tied to a concern for continuity within the pottery tradition:
"Because the care and skill Involved In
making exemplary functional pots has been, for us, hard won through self instruction, we continue to be interested in
passing on these Skills to others who value the disclpllne and satisfaction of the potter's life. we feel that we have
Project seems nicely suited to thatend." Sharon Semeniuk Sharon Semeniuk is an apprentice for Carol and Richard Selfridge. She has cornpleted the diplomaprogram in fine arts at Red Deer College. She is currently enrolled
in the Pre B.F.A. program at the University of Lethbridge. 'I l really want to learn more about clay. Some Of the more recent sculpture experi-
ments I have done demanded clay as the medium. It was then that I realized just how little I knew. If I wish to continue to use clay,
I will have to learn about glazing, firing and throwing."
gram."
Working as an apprentice weaver will give me further experience in a medium which has unlimitedpotentialfor creative expression. I would like to acquire a working knowledge of many mediums in order to explore further the possibilities of combin-
ing them in multimediaworks. I have had some previous experience in weaving and other fibre arts and see exciting ways of in-
tegrating them with printmaking.painting, photography and sculpture.
This positionwill also give me valuable background experience for future career possibilities such as cultural administration
or instructing.
Working under a professional in a studio environment, unlike a class situation,
creates a sense of disciplinewhich can be advantageousto a studentwho is seriously committedto art as a career and as a Way of life.
"Apart from learning basic skills, I will gain experience from working in a production oriented studio. There is a commercial
side to studio working that many students never see. Being involvedwith the making and selling of pots gives me a different per-
spective; clay as a way of life.
The comblnatlon should prove Invaluable.
pjrkko Karvonen and Dana Shukster
6
Apprenticeship Pilot Project +3.
able to learn about the functioning of a design studio, how garments are designed and then put together, how to contact retail outlets and then to place garments in the
retail market. Also the apprentice would learn about the clothing and how to assist
the clients."
Ramona Haskell Ramona Haskell will be entering her fourth year Of Clothingand Textiles at the Tim Sikyea Tim Sikyea Tim Sikyea, fashion designer, has been designing for the past ten years. He operatesSikyea Fashions Limited,a studio/ workshop/showroomlocated in Edmonton. His fashions are mostly one of a kind originals,or limitededitions. Tim'S philosophy of clothing centres around the necessity Of keeping touch with
the natural elements and the communicationvalue of art. He feels that his styles will make women more aware of themselves and of the natural world around them. To accentuate many of his designs he uses native crafts such as moosehair tufting, porcupine quill work and bead work.
As the scope of his designing business has increased in the last short while, Tim applied"to have an apprenticeto helpwith the duties he had always done himself. By having an apprentice, this person would be
University of Alberta this fall. This summer however, she is pleased with the opportuni-
ty to work with Tim Sikyea, an Edmonton Fashion Designer and consultant.
"My positionat Sikyea Fashions involves many aspects of fashion design. There is business production,designing, and management to contend with each day. My main duties are involved with the business
aspect in which I am responsiblefor prorw
tion, selling and research. This is a very important part of fashion design, because it is important to know how to implement a mar-
keting strategy for your product."
Ramona is also highly influenced by Tim
as a craftsman. "Although I do notactually design any garments for Tim, I am learning his methods and approach and have been able to improvemy skills due to Tim's high quality Of workmanship."
Overall, Ramona feels she will gain know-
ledge and experience in the businessworld of design which she can successfully apply to future endeavors.
RamonaHaskell inodellinga Sikyea Design
David Settles
Linda Wilder Linda Wilder will be entering her fourth
David Settles of Ceramics Canada, an operating ceramic supply business, will be hosting apprentice Linda Wilder this sun-F mer. In addition to supplying materials,
Ceramics Canada also has four studio pot-
ters responsible for their own personal work, daily operation of the supply busi-
ness, and approximately thirty recreational pottery students. "Ceramics
Canada would like to apply for
an apprenticeto assist in
some
new ideas of our current operations. Linda
will be involved with training in all the areas
of our operation,such as; research, glaze
testing, teaching and some workshop management duties. Linda will also be provided
David Settles and Linda Wilder
with a studio space to encourage her own personaldevelopment."
year Of a B.F.A. program at the University of
Calgary in Ceramics. Being a full time student for eight months Of the year makes summer employmentessential, and Linda considers herself lucky. "This position will helpmy financialsituationas well as enabling me to work within my field of study."
The apprenticeship with Ceramics Cana-
da Will further Linda's knowledge in such areas as research, teaching, and organizing workshops, outside of a University set-
ting. Such experience would enhance her active involvementin the ceramic community.Linda also see this apprenticeship as, "the opportunityto develop
work under the direction craftsman."
my personal
of a professional
7
Apprenticeship Pilot Project "In re-establishingour Studiowe are be-
ing made increasingly aware of rising costs,
Jame Thomas Executive Director
tance in various areas of the workshop and have considered the possibility of hiring an apprentice or worker.
A year ago, if someone had asked me to name half a dozen Alberta craftsmen working in wood, I'd have been hard pressed to answer. All of
the competitive marketplace, and the labour-intensiveaspect of being a craftsman. We have realized the need for assis-
"The producing studio is an ideal situa-
tion for the serious student to learn directly
and be of considerable value in the daily production process. This pilot project is enablingus to evaluate the feasibility of the apprentice position in relationship to our operation. It is our intention to maintain regular production and to initiate new prcy
David and Judy Green
fall of 1982, use the woodworking facilities of the NorthernAlberta lnstitute of Technology, have already carried out a project to build 13 maple work benches, publish a newsletterand will present a woodworkers trade show and exhibition
Alberta. Both have been potterssince their post-secondaryschooling, David for fifteen years, and Judith for seven.
tion meeting of the Calgary group, quality in woodwork was the main discussion and concern. A steering committeewas formed to draw up objectives and membership structure.
For further information contact
one time been students of David's.
Both David and Judith have received post-graduate tuition scholarships to the
Their work is primarilymarketedin Alberta, from Fort McMurray in the north to Water-. ton Lakes National Park in the south.
After spending more than a decade in Ed-
monton where the studio was located in commercial space, David and Judith realiz-
ed theirlong-termgoal of combininga home and studio In a small town. In October Of 1982 they moved to Pincher Creek where their studio overlooks the town and the
Rockles. Although productionof domestic ware occupies most of their time. they are enjoying the recreational advantages of the
area.
different in nature. The Northern Alberta Woodcrafters, formed in the
this fall. At the June 15, 1983 forma-
David has extensiveteaching experience in western Canada. He is founderof "Pottery West Limited", an Edmonton based workshop and teaching facility, Literally hundreds of recreational potters and numerous professional craftsmen have at
tre. As craftsmen, they each produce their
memberships of approximately125, have been formed — one in Edmonton (Northern Alberta Woodcrafters Guild)and one in Calgary (as yet, unnamed).
aspects of the craft. At the end of the summer we hope to know that the balance between instruction and production satisfies bothparties."
Judith and David Green are full-timepro-
own work and have participated separately in juried and invitational shows in Alberta.
associations, having combined
The two groups, although still quite early to comment, seem quite
duction potters working from their studio/home in PincherCreek in southern
Kootenay School Of Art and the Banff Cen-
a sudden two woodworker's
jects made possible by Debbie's assistance. The sponsorship Of the program allows us to spend considerable time teaching the apprentice the more technical
David and Judy Green
Woodworkers Are Coming Out of the Woodwork!
Debbie Moshenko Debbie Moshenko
Debbie Moshenko, is apprenticing this
In Edmonton: Pat Macdonald,president, NorthernAlberta Woodcrafters Guild,
433-1784 or write Northern Alberta Wood-
summer with Judith and David Green at Pot-
tery West, in Pincher Creek.
crafters Guild, P.O. Box 86, Main Post Office,
"The summer project proVidesan excellent opportunityfor me to gain a better understanding of the fundamentals of clay.
Edmonton, Alber ta,
Although ceramics is one ot several areas
Of interest to me presently, I feel much of the Information learned will be applicable to
my endeavors in other areas. Basically, I look forward to growth as a person and an art student over the summer."-
Debbie will return to the IJniversity of
Lethbridge this tall to continue working on
her B.F.A.
T5J 2G9
In Calgary:
David Enns,
at
230-8547 or write him 532 - 8th Ave. NE, Calgary, Alberta, T2E OR4
8
M0N€Y Some of the most frustrating problems craftsmen en-
counter are financial. With rising prices of materials, educationand travel, it is becoming increasingly more
difficult to; build a kiln, study glass blowing, or travel to a
weaving conference in Winnipeg. In order to finance some of these types of activities, craftsmen are having to rely more than ever on outside sources of funding. There is money availableto craftsmen but it is up for grabs and the competitionis stiff. There are numerous'rules' to applyingfor assistance of any kind (grant, loan, scholarship), but the only one which you must follow in order to be successful is to have a sincere desire to work hard towards a well defined goal. With this in mind the next step is to do it! Define
your goals and then really consider their worth. Whateverthe reason for applying for money, you must have a realistic idea of your own wants and needs as well as those of the prospective funder and anyone else you hope will benefit from what you want to do.
The next Step is to do some research. Find out who to approachand get a copy of their guidelines and an applicationform if one is available. READ THESE OVER VERY CAREFULLY. One of the major complaints funding bodies have of applicants, is the number of incomplete proposals they receive. If a government/company/agencyis giving out money, they are usually very specific about what informationthey requirefrom the applicant. And they don't tend to ask for too much. No jury (and there almost always is one), is going to want to look at fifty completely different proposals of varying lengths and content. There has to be some consistency,
and you must try to conform to their specifics. If they ask
for a brief statement of intent,don't give them a five page, philosophicaldream. If they ask for a budget, be specific, but not too detailed. Most funding bodies will expect you to be puttingsome money towards your goal, so save things like kleenex and movies for your personal budget. If specific financial details are required, then take the time to work things out carefully. The more ac-. curate you are in the planningstages, the better your ability to properly administerthe funds once you have received them.
Get it, Got it, Good If a resume is to be included with the
application then
make sure that it is complete and up to date. Include; personal information, education, experience and achievements (awards, exhibitions, commissions, and publications).Try not to leave long periods of time unaccounted for. If you have been working in your studio for the past two years say so, it is just as importantas a public showing, althoughyour chances of success will increase as your achievementsand qualificationsimprove. It is also a good idea to mentionany special circumstances that might benefit your project, for example if it is connected to a local event or exhibition. If you are required to present a portfolio of your work,
then think of it along the same lines as the application form. A careful selection of professional quality work is what you are after. And always remember that you are in competition!
It is also very importantto watch those deadlines. They oftenchange from year to year, so keep informed and be prepared.DON'T RUSH! A proposal prepared the night before the deadline js usually obvious.
If it happens that you are refused assistance from one
funding body, don't take the rejection as a personal defeat. Ask why you were not accepted and try to learn for the next time. If you are turned down again and again
then perhaps a completere-evaluationis in order. But don't give up! If one projectis unsuccessful, don't be afraid to try again. Money is given to those who will utilize it in the best possible way.
As a craftsman,difficultiesarise because there are no clear cut universal criteria for crafts. Therefore it might be a good idea to make a statement which em-
phasizes the following in reference to yourself and your work in crafts: level of craftsmanship, strong business sense, and benefits to others. The stereotype of the craft hobbyist will only be overcome through commitment and hard work. A rejection is not a failure, but a learning
experience and an important .contributionto the future success of othercraftsmen.
by Ellen Mitchell
MON€Y
One of the very best sources of informationon financial assistance is from people who have succeeded. They've gone throughthe complete process of applying, waiting, receiving and administeringfunds from an outside source. All the hard work and patience have been rewarded and I felt it would be interesting to hear what their feelings on this subject would be. I intervieweda variety of individualcraftsmen, craft organizations (mostly non-profit)and even a few granting officers. They are representativerecipients of scholarships, grants, bursaries and donations. The following are some of the questions I asked, and quotes which I felt would show the diversity of opinions as well as providing practical informationfor future applicants/fundraisers. (Because so many of the people I interviewedrequested that their names not be used, quotes are not credited.) 1) Why did you apply for financial assistance?
"When we designed our program for the upcoming year we knew that we didn't have sufficient funding for many of the planned activities." wanted to attend the Canadian Crafts Councils, An-
nual General Meeting in Charlottetown,Prince
Edward Island." "I'm going back to school in the fall and you can't do that withoutmoney. The job market isn't too great now either,so I prettywell have to get some help, right?!" 2) Was it worth the time and effort involved?
"Yes, I believe that each time we apply, let alone succeed we become more visible and therefore more likely
to be recognizedas serious artists."
"I think that instead of applying for a crumby $125.00 grant that my time would be better spent writing a really
constructive letter to my MLA, and Member of Parliament telling them why more money is needed for the Arts. Obviously I won't get $125.00 from them, but it could have better long term effects."
"Everythlng goes on as usual with or without that money .. ."
3) Would you have gone ahead with your plans without financial assistance?
9
"The government is you and I and everybody else out there and we should never be afraid of going to them for
assistance, ... but they do like to see people raising
some Of their own money."
"Everythinggoes on as usual with or withoutthat
money ... (laughing)what am I saying?! I guess I mean that I would like it to go on as usual. The truth is that you have to do less with less, and that's hard. I mean I believe in compromise, but not when the qualityof your work has to suffer because you are forced to decide be
tween buying a box of porcelain or a small bag of groceries."
"We musn't have an 'l deserve it' attitude .. ."
4) Willyou continue to apply? "Most definitely. Competition makes government keep on their toes in regards to the real artist and not just the aggressive one!" "It takes an awfullytenacious person to hang in and do it again. It kind of takes the wind out of your sails." "It made us really look at our group and where we are going.' "I can't say I'm not satisfied, after all it was given to me, but it wasn't a lot of money. If my need was great enough, sure I'd do it again."
"People who are going to get grants are people who are venturing out on a limb." 5) Do you have any practical advice for others applying
forassistance?
"You have to fill out the forms correctly." "Craftsmen should lobby together as a group to get more government funding for individuals." "We musn't have an 'l deserve it' attitudewhen proaching government for money because it may just not be true." "People who are going to get grants are people who are venturing out on a limb." "Use the money for what you requested it for."
by Ellen Mitchell
10 Alberta
to Swaziland
Craftsmen
has owned and operated his own company. furniture manufacturing
See what can happen when the Alberta Crafts Council knows about you and your work? George Oosterveld, cabinet making instructor at
And he happened to have two free months and could leave immediate-
ly! In Swaziland he will be responsible to start the reorganization and
the Northern Alberta Institute of
Technology (NAIT), Edmonton, has recently flown to Swaziland, southern Africa on a two month assignment. The posting of this position came directly to the Alberta Crafts Council from the Commonwealth Secretariat in London, England, "We need a furniture manufacturing consultant, a prc> blem solver and woodworking teacher all in one person, . and they must be able to leave Canada two weeks from now," I was told. Up to my neck in budgets and other administrative work, I was not about to let an opportunity for Alberta craftsmen slip by and on a long shot called two people I knew to be in a network of people with furniture manufac-
turing expertise. One of the people was George himselfand he jumped at the opportunity. George has been a "cabinet
O
training of a small manufacturing
ject of the CommonwealthSecretariat.
s.
Seen just a few days before his
departure George said, "I've got all
my shots, my suitcase is packed and
I'm so excited!" Funny how he's left, forgetting his offer to put me in
for a
report in
ALBERTA
logos flyers • Kirn 434-5401
an up-coming
CRAFT.
* Dennis Evans, President, Alberta
maker all my life," having been schooled and apprenticed to the "master level" in Holland. Seven years ago he started NAIT's cabinet
has been Potter's Association, contracted on the same Swaziland "mission" as Ceramic Consultant. More details later.Congradulations
making department and for 20 years
posters • photography
to both Dennis and George!
Advertise
Craft in ALBERTA
— the only newsletter craftspeople.
CRAFT
for all Alberta
Ad rate sheet available upon request.
Terry 437-7280
—
Jane Thomas Executive Director
George Oosterveld, woodworker
production
Art Design • brochures •
I'll get you George
his suitcase.
Alberta
•
furniture
— a
company
Subscribe
to ALBERTA
CRAFT
Watch for September Membership (see
page
2)
drive
O ACC GIFT PROGRAM CALL FOR ENTRY The ACC Board of Directors announces and encourages submissions to the Alberta Crafts Council Gift Program. The Program has been developed as a service to corpora-
tions,government, institutions andothersto
assist in acquiring quantitiesof high quality
gifts hand made by Alberta designercraftsmen. Our research indicatesa strong
need forthisserviceandpreliminary promo-
tion indicatesexcitingpossibilities. Craftsmen are urged to helpmake the Programa
success.
The Gift Program, introduced at this date,
is intended to assist ACC clients in thetr pur-
chasing for the 1983Christmas season. As the Program is enlargedand refinedit willbe
operatedandpromoted yearround.TheACC
wishes to apologizefor the short noticefor this call-for-entry.Rather than delay these sales opportunities anotheryear, the ACC has chosen to offer the call-for-entryto those
craftsmenwho are able to act on short notice. Your co-operation and understanding
is requestedand your ideas and comments greatly encouraged. Volunteersare needed to assist in organizationand managementof aspects of the Program. Cali 434-0953 for further information.
THE GIFT
PROGRAM
— is designed for ACC clients to orderCraft
works in quantities,for example5, 26, 120, 200 etc. Program will be of interestto prcy ductionorientedcraftsmen. —a commission onsaleswillberetained by theACC. Retail price quotedis to include ACC commission.
— submittedworks will be prescreened by an independent selection committee — yet to be named. Prescreening will eliminate en-
tries that do not follow guidelinesor are Of poor quality. Fragility and suitabilityas gifts will be other considerations. — representativesof various corporations, government, institutions and others will be in-
vited to a private viewing of the selected sub
missions. The ACC will take orders and immediately notify the chosen craftsmen Who will be placed on contractwith the ACC An advance in partialpaymentwillbe provided wherever possible.
— entries will be photographedby the ACC and housed in the Gift Program Slide Registry. All participatingcraftsmen will be provided with a brief report upon completion of this event and contacted regarding ongoing participationin the Program. In some
cases, the ACC may requestthe holdingof particular samples for further promotions
— should Insufficient quantity of high quality
submissions be received, the ACC reserves the right to cancel or alter the event and direct buyers to alternate buying sources. Of course, the ACC wishes to avoid this occurrenco.
GUIDELINES
a) Only samples of actual craft works are to be submitted.NO slides or photographs will be accepted. b) Craft works submitted are to be within the following price categories:
"A" S
FIRST MAJOR CLIENT
A prominent.majorcorporationin Edmonton will be attendingthe viewing and hopes to order gifts for all its clients which are other corporations.Required: 25 Of one object @ S40.OO
25 of one object @ $32.00
1.00-$ 15.00
"B" $ 15.01-535.00 'C" s 35.01-S60.00
"D" S 60.01-S100.oo
"E" $100.01-$200.00
• tip to entrants: ACC research indicates most common gift purchases are in price range from Sl .00 to $35.00 c) submitted works must be handmade in Alberta. Submissions must be of original design making no use of commercial kits or other commercially manufacturedelementS.
200 ot one Object @ $23.00
For each sample: photocopyENTRY FORM, complete and attach to sample. Please type or print with black ink.
ENTRY FORM
d) craftsmen must use ENTRY FORM and state on the FORM, the minimum and
Craftsman's name
delivered to the client by Decernber 1, 1983. e) While clients will be interested in crafts because of their uniquequalities, orders will be placed on the assumption that
Address
maximum order acceptable to be
Postal Code Telephone(Bus.)
(Res.)
sample representsan offer to pmn:e
works very similar to the sample. Enter only those objects you offer to produce. f) By entering works in this call for entry, the
entrantassumes the responsibilityto duce any resultingorders on time, for the quoted price and to the quality, and nature Of the sample upon which the order is based.
g) A total of 5 samples per entrantwill be allowed.Samples may be all in one price category or distributed throughout the categories.
h) entries are to be shipped prepaid and will be returned collect. Reusable containers are required. Insurance is the responsibility of the craftsmen. While utmost care will
be taken in handlingarticles, the ACC is not liable for damage, breakage, loss or theft.
i) craftsmen are encouraged to include any biographical and promotional materials possible. DELIVER/SHIP TO: Alberta Crafts Council. 10645 - 63 Ave., Edmonton
PICK-UP LOCATION:same RECEIVING DATES: Tuesday, sept. 6; and Wednesday,sept. 7, 1983. 9:00 am to 8:00 pm. PICK-UP/RESHIPPING DATES: sept. 19, sept. 20, sept. 21, 1983 DELIVERY DEADLINE FOR ORDERS. December 1, 1983.
Craftsman's name City or town
Description of sample: Retail Price:
From this sample: Minimumorder accepted (number of objects) Maximum order available by Dec. 1, 1983 This sampleOfor sale Onot for sale Total number of samples submitted Maximum combined order available by Dec. I Comments
Office Use
11
12
If You Were A Piece of Clay In the March issue of ALBERTA CRAFT, the editor placed an ad: "Wanted, Potters (or anybody)with finely tuned sensitivityto symbolism in country and western music to write a 500 word article on the (then
current)Ricky Scaggs song called Wouldn'tChange You If I Could." Writers were asked to respond to the lines "if I were a potter and you a
piece of clay, the only thing I'd change would be your name." Most publications refuse to print
material that is supplied anonomously but the following article arriv-
ed without any identification, except
I first heard that song "I Wouldn't Change You If I Could" in my studio. I remember the time as if it were onIy this morning. There was this new shipment of clay and I'd just gotten a sample of it up on the table. It wasn't the weight of it so much, although I don't mind telling you I don't usually go next door to get help to lift what (l swear) only looked like 10 lbs. out of the box. ("So that's what you do in
here all day long", the lady said.) It sure wasn't the colour either.A little bright, perhaps, but there's nothing big deal about day-glo red around the place once the novelty's worn Off. Besides, I often wear welder's goggles about that time of day, any-
way. No. It was — sounds really weird now I think back on it — the peculiar Noise it made when you tried to open it up on the wheel.
I'm•nottrying to make excuses or
Pencilled on the edge of the typed
anything. Don't get me wrong. I've been places, been around, you know. Met some funny clays in my time. But the studio's kind of a dif-
copy was (honest) "If you don't like
rived. Fact is, I hardly ever go in
a Calgary post mark, but who would refuse to print a response like this?
this article, maybe send it in to that
pottery magazine "Skintact" or "Contight" whatever it is called." Alberta Craft committee is tempted to run a contest to guess who wrote
the article but then how would we
find out who it is'? WANTED: Anybody (or potters) to write a 500 word
article on craftspeople who are
secret writers or who may have other strange goings-on in the studio.
P.S. Thank you, whoeveryou are!
ferent place ever since that stuff •ar-
there anymore. I go kind of ... nearby ... you know what I mean? But not actually in there. I skirt around. In fact, the grass now grows thick in front of the door. People started to
line, or just trying to sing along. I
tried not to touch it, tried to just let it
sit there while I looked at it as lnspiration, the Avante-Garde, the very Life-Force itself. But it was no good, though. Production went Fight down and people started asking questions aboutwhere my new work was. You know how they are.
One of the very last images I had was just sitting in there, ignoring the shattered windows and the streams of cold air and just trying to cup my
hands around the stuff very gently, as if I really cared about it and understood. Even at that most sensitive moment, the school-kids in the
alley coming home for lunch would bang on the back gate and chorus their voices in a howl together. What must have been 20 dogs would also join in. I remember finally just saying something which sounded like: forget it. Taking my day-glo hands away and pullingthe plugs from my ears.
At that very moment, it seemed, a warm shaft of sunlight caught the wheel-head, and the radio (turned up
highas a matterof course during all
of these encounters) cut into my dejected mindwith part of this song by Ricky Scaggs — the words of which appear at the beginning of this writing.Ricky Scaggs, Mr. Nashville, say that I was doing it deliberately the man whose last name spells the and pretendingthat I didn't have to same back-to-front,discoursing for make pots, like one of those univerthe whole noon-day world to hear sity teacher types or something. out of shattered windows, shattered Truth was, though, how do you ever nerves: . the only thing I'd start to explain to people about the change would be your name." low awesome drone that would start up when the wheel went around Well, you're wrong, Ricky Scaggs, slow, and then change into a weird you're wrong, boy. You may be real whine getting higherand higheras it good-looking,and you may be a big went around faster and faster? radio star and all, but that sure Strangest thing. Didn't happen when doesn't make you Mr. Right. What you didn't touch the stuff, of course. do you know? So here I sit, quiet and Using water didn't make any differ- alone. Let's see now. "Cone-ware? Nah. Moan-ware; ence, nor rubbergloves, jello, Vasegroan-ware; droneware
WINNING ENTRY
Alberta Craft Fundraising Contest In the March issue of Alber-
ta Craft we asked readers to
raise funds to buy subscrip-
tions and were encouraged
to use their imaginations. Eileen Taylor, Calgary easily stole the show with the following entry. For her effort
she wins a pair of Skookum
Art Glass goblets donated by Fireweed Gallery, Edmonton. Dear All, I am enclosing twelve dollars and fifty cents for an Alberta Craft subscription, in response to your Fundraiser Contest. Being unable to think up a unique way of earning the money I decided,
"Oh what the heck, I'll do the ot)vious thing. I'll sell my body to the first foreign prince I see." Usually my life proceeds (or re-
ceeds) at a fairly slow pace, so I was surprised to meet him the very next day standing in line at CC)-op.There
he was in front of me, tall, hand-
some, regal. My wallet quivered and
turned a deeper shade of rosy red. Then it became so excited and bouncy that it agitated the three bun-
ches of onions I was carrying, causing them to fall off my newest Harlequin Romance. The prince gallantly picked them off the floor for me. Our
friendship deepened as I was able to return the favor by helping him ex-
change his zlotys for dollars. (The cashier was clueless about foreign currency) His purchase was five MacIntosh Apples — he'd never seen such shiny red ones — and a large head of cabbage. A shameless waste of zlotys, as he never did get around to eating them. The fact is that, alas, quite soon after our time together he turned into a toadstool — some kind of minor genetic flaw, I believe. I hear he has attached himself to a small Polish plot of earth under a dwarf tree in a forest where he swells and puffs mightily.Apparentlyone of his most difficult adjustments in his new lifestyle is that he hates being short. For his twenty-fifthbirthday I plan to send him a small replica of the castle where he used to live. I hope that it will somehow ignite his present vegetable consciousness back onto its regular evolutionarypath. I know he can be an animal and who knows, maybe even human again. Sudden riches, and possibly the way I acquired them have made me wary of paying more than the asking price for anything so I'm sending only the required twelve fifty. ($12.50) With the rest of the loot I plan to lavishly extend my studio and then travel to all the places I've never been. What the heck, maybe I'll even drop in briefly on His Highness under the dwarf tree to see if his brown spots are getting any bigger and if I ever meet any more foreign princes, I expect it will be while standing in line at Cartier's. I hope I didn'tbreak any contest
entry rules. I swear on my Bhagavad Gita that I am a bona fide craftsman
even if it turns out you have never heard of me.
A Fun-draiser, Eileen Taylor
What's Up SHOWS/SALES/ EXHIBITIONS
Farmer's Market — Old Strathcona Foundation — This happens Saturdays a.m.-12 noon, starting July 16/83. The cost is $4.00 per stall (bring your own table) at 103 Street northof Whyte Avenue (Edmon„ ton). For more informationcall 433-5866.
Contemporary Ceramics — August 7'
-21/83— Handworks Gallery (10802- 124 St., Edmonton). These ceramics are the, work Of six Edmonton artists whose work is
as diverse as their glazes, their forms created for intended functional use.
Olds Handicraft Guild — August Il, 12, 13 — would like to invite everyone to attend
the "Summer Games" in their county this summer. Crafts people from around the pro-
vince will be there. Contact the Olds Handicraft Guild, Box 2812, Olds, Alberta, TOM IPO for more information.
Steeple Artworks Society — Throughout the month Of August. will be featuring a variety of arts and crafts by local Alberta artisans. We have an excellent selection and
urge you to come down to our store and check us out. Our gallery is located at 142 -10 St. N.W., Calgary and we are open from Tuesday to Saturday, 10 am to 5 pm.
CLASSIFIED Studio space available for rent for art/crafts person in gallery on Kensington Road, N.W., Calgary. Exhibit and retail included. Phone 283-0048 for further informa-
tion.
''What's Up" is open to individuals,institutions and organizations sponsoring shows. sales, workshops, conference and Other events Of interest to our readers. Editors maintain the right to edit or exclude notices. If a longer announcement is needed or you
ant to insure that your notice will be
printed, please see rates for classified ads in this issue. Member association's notices ill be given preference for free space but it is not guaranteed. Information in "What's
Up" is subject to change withoutnotice.
Classified Ad Rates and Stipulations Minimum of $10.00 for member associations, $15.00 for all individual and nonmember associations (up to 40 words). 25C per word or figure thereafter.10% discount on repeat ads after first insertion. Mail typed or printed copy indicating number of insertions. Payment must accompany copy.
Please write or call tor Alberta Craft,
Display AdvertisementRate Sheet
13
14
What's Up NOV. 24 - 27, 1983 DAILY 10 a.m. -9 p.m. SAT. & SUN. 10 a.m.-6 p.m.
North Pavilion Stampede Park
* 85 Booths- Size 10' x 10'
Booth Fee - $250 - $375, depending on location & no. of artists
* No Commission! Easy access for loading & unloading
Jurying by photo or sample of
9
"6th ANNUAL"
CHRISTMAS RAINBOW Arts and Crafts Fair
Costumed Characters, Food, Music, Magic, Choirs, Santa, Free Balloons
CALGARY'S LARGESTARTS & CRAFTS FAIRE
Children Under 12.. Free
Adults: $1.50
work
* For more information, write or phone;
JACKIE CUTTING
530-9 Ave. N.E. Calgary, Alberta
T2E OWI
(403) 230 - 0829
'WORLD OF STITCHERY'
Edmonton Needlecraft Guild's Provincial workshop — May 1983
If you can imagine 86 women
from ages 12'to 70 working at their own special piece of needlework and learning something new, this was the 'World of Stitchery', held at the University of Alberta. The choice of one or two day workshops was as varied as the colored threads with which we worked. From the study of exotic Indian embroidery(Helen Bently),to the practical beaded mukluk (Mary Sustrik). There was also traditionalquilting (Stephanie Brand), elegant Italian cording and Trapunto quilting (Laurie Sobie). For the modern lady, we had a full class of 'Sewing MachineArtists% learning to use the sewing machine as a drawing tool, taught by
Pam Godderis of Calgary. For those with an ethnic bent, a class taught by Noreen Crone-Findlaycalled 'lg-
olochkoy', or Russian Punch Needle proved interesting. For the people with a very controlledneedle, there was Ukrainian embroidery (Joyce Suski-HoweII), with its disciplined stitches. Also for those with a traditional turn of mind, a course in Hardanger by Grace Clements. Dale MacEwan taughta class for 'Needle Pointers' in backgrounds for canvases, and for those with a creative needle, a course on fabric collage (Flo Dutka). We had raffles, a fashion show of creative clothing,and evening entertainmentconsisting of slides of 'Ottawa 82', 'Regina 82' (Stitchery events), and Edmonton's own 'Stony Plain Show'. We also viewed 'Quilts in Womens Lives', a movie on how our lives can be changed by being involved in quilting.
Needles were flying as late as midnight.I saw mukluks being beaded at six in the morning, by a pyjama clad lady who claimed "If I stop now
(beading), I won't get on with the making of the rest of the mukluk." Now that's devotion!
The knowledgebeing gained at these workshops is being spread far and wide across the western provinces. We had at least two members from British Columbia and others who travelled long distances to learn new areas of needlecraft, and to share their knowledge with others. We all returned home so stimulated with our needlework, that for the next while, meals were simpie, and the dust gathered.
by Grace L Barford
What's Up
15
'CONFERENCE NOTICE From Fabric to Fabric — Contemporary work in fabric derived from historical fabrics — October 15 - 16, Harbourfront, Toronto, Ontario. Canadian textile crafts people and historians will contributetheir expertise in the areas Of printing,dyeing, fibre and many more. Discover the history, learn the techniques and add new dimen-
Sion to your work. Fees. S45-oneday, $70-weekendpass, plus $20 for nonmembers. For informationCarol Outram (416) 690-2510 or write Surfacing, Textile Dyers and Printers Association of Ontario, Box 6828, Station A, Toronto, Ontario, M5W IX6.
Good As Gold, AlternativeMaterialsin American Jewellery — August 18 to
September 11/83. A collection of 180 pieces represents the challenge thatninety artists have met while seeking alternatives to traditionalprecious metals and stones. The exhibition will be held at the Craft Gallery of the Ontario Crafts Council. 346 Dundas Street, West, Toronto,Ontario.
A Conference for Jewellery — Ontario College of Art, Toronto— September9, 10, 11/83. Key speakers, lectures and semiars. Cost $75. For further details and registrations froms write Rosalyn J. Morrison, Ontario Crafts Council. 346 Dundas Street West, Toronto,T5N IG5 or call Jean Johnson at (416) 869-8447.
Yes, I would like to subscribeto the
Alberta Crafts Council newsletter,
ALBERTACRAFT Name:
tion is interested in talking to anyone who is
the first "Biennale'• exhibitionof ceramics at Trois-Rivieres (Quebec) during the summer Of 1984. This exhibition of national scope, will reunite professional artists across Canada for their works. It aims to encourage and to present all shift ideas in contemporaryceramics: traditionaland recent research. For all supplementinformation about this subject, do not hesitate to contact us: Christiane Simoneau, 643, rue Des Ursulines,TroiS-Rivieres(Quebec) G9A 583, or (819) 374-3242.
doing. or would be interested in doing. miniature replicas of major historic sites and homes(in clay) for marketingpurposes. If you are presently involvedin this type Of small sculptural work, a photo would be ap-
preciatec% For further informationplease write: Trudy Cowan Alberta Historical Resources Foundation
102 - 8th Avenue. S.E. Calgary, Alberta T2G 0K6
PARTICIPATE IN THE SALE OF THE SEASON
CHRISTMAS DECEMBER3 & 4
Saturday 10am. to 6pm. Sunday 10am. to 6pm.
sale
gift
At: Edmonton Northlands"
SUBSCRIPTION
RATES
NOTICE
The Alberta Historical Resources Founda-
Trois•Rivieres is happy to inform you about
New Agricpm Buildipgc
• 326 booths
1st come, 1st served $135. booth fee. $160. on corners, shared booths available
• NO COMMISION Address:
ON SALES
over $17 ,500. will be spent on advertising
• over 10,000 customers expected
• S2.oo- adults
$1.00 —seniors children under 12. FREE with adult
A PRESENTATION OF
City & Province. Postal Code:
S5.00 per year for membersof Alberta Crafts Council member associations $12.50 per year for all others. Additional Postage costs:
$4.00 for overseas $2.00 for USA Total amountof cheque or money order
Mail to: "Subscriptions" Alberta Craft 1064563 Avenue, Edmonton T6H 1 P6
lam interestedin participatingin THE sale of the Christmas season, please send me detailed information. phone. My name. address. code. craft type (s).
MAIL TO: CHARITABLE PROMOTIONS UNLIMITED
Alberta T5Y 2J9 #20. 14620-26St..Edmonton,
16
What's Up
CALL FOR ENTRY
The Manitoba Crafts Council, in co-
operation with The Winnipeg Art Gallery, is
pleased to present "REFLECTIONS ON THREE PLAINS: CONTEMPORARY
CRAFTS", a juried exhibition of crafts from
the provinces of Alberta, Saskatchewan, and Manitobaat The WinnipegArt Gallery, March 4 - April 15, 1984 NOTE: ManitobaCrafts Council is in the process of acquiring major awards for Reflec-
tions. Awards will be announced in the September issue of Alberta Craft.
JURY
DIANNE CARR, Director of The Cartwright Street Gallery, Granville Island, Vancouver, British Columbia. ROBIN HOPPER, internationally known potter and author; Victoria, British Columbia.
WILLIAM HODGE, Faculty Member, on-
tario College of Art, Toronto, Ontario.
ELIGIBILITY
Open to all craftspersons resident in the provinces of Alberta, Saskatchewan, and Manitoba for a minimum of one yearbeginning November, 1982. Open to craftspersons
working in any craft media. Submissions must be original in design, making no use of
commercial kits, completedsince November, 1982. The work must not have been produced under the direction or guidance of another person. Collaborated pieces must
be accompanied by the names of the collaborating artists, and will be regarded as one entry. Submittedwork must not have been previously shown.
ENTRIES
Each craftsperson may submit up to three entries. Multiples,such as sets, will be regarded as one entry. Pieces must be shipped prepaid in re-usable containers. All shipped entries must be accompanied by a cheque to cover the cost of return shipment and shipping insurance. The return address of the sender must be clearly marked on all containers. Pieces must be ready for hanging or display, with directions for presentation included where applicable. Signatures
or other identifyingmarks on submissions must be masked or positionedso they are not visible while juried. The deadline for receipt of entries by mail or express is October 28, 1983. Entries will not be accepted prior to October 15, 1983. Works will be received in person on Sunday, October 30, 1983 from 12:00 noon until 5:00 p.m. Jurying will take place on November 3, 4 and 5, 1983. Decisions of the jury will be
final. The submissionof an entry presupposes that the right is granted to use photographs or slides of accepted work for publication and publicity purposes.
Edmonton,T6H IP6
utmost care will be taken in handling articles, organizers are not able to insure against damage or breakage.
CALENDAR
PLEASE NOTE: Entries delivered by mail or express cannot be accepted prior to October 15, 1983. FRIDAY, OCTOBER 28, 1983: Deadline for receipt of entries sent by post or express. SUNDAY,OCTOBER30, 1983 — 12:00 noon til 5:00 p.m.: Receipt of entries in per-
son. THURSDAY, NOVEMBER 3; FRIDAY, NOVEMBER 4; and SATURDAY, NOVEM-
BER 5, 1983: Jurying
MONDAY THROUGH TUESDAY, NOV-
EMBER 7 TO NOVEMBER 15, 1983: Pick up of non-selectedwork 9 a.m. to 5 p.m. SUNDAY MARCH 4, 1984: Opening of "REFLECTIONS ON THREE PLAINS: CON-
NON-SELECTED ENTRIES
TEMPORARY CRAFTS; at The Winnipeg Art Gallery.
will be returned immediately by post. Works submitted in person that are not accepted
ALL ENTRANTS ARE REQUESTED TO
picked up will be returned at the expense of the craftsperson.
REFLECTIONS ON THREE PLAINS
Entries that are received by mail or express and not accepted for the exhibition for the show may be picked up in person between November 7 and November 15, 1983, during business hours. Entries not
LIMIT OF LIABILITY
Craftspersons should arrange for appropriate insurance of their work against
ALBERTA CRAFTS COUNCIL
10645 - 63 Avenue
losses during transportation. Articles will be covered for up to $1 ,000 against loss by fire or theft while they are held for jurying. While
SUNDAY, MARCH 4 - FRIDAY, APRIL 15, 1984: Exhibition
WRITE TO THE MANITOBACRAFTS COUNCIL FOR ENTRY FORMS. All submissionsshould be sent to: 202 - 89 Princess Street Winnipeg, Manitoba
R3B
Telephone: (204) 942-1816