Vol.3 No. 3 ovember/December 1983
Special
+fembership qssue
Alberta Crafts Council Objectives
/4UER.8
a) To encourage the development and furtheranceof crafts and
other manually controlled
CIL
technologies in Alberta. b) To further research and education in all aspects of crafts and
Alberta Craft is an official
authorities in encouraging the de-
CO
Incorporated I
I am pleased to announcethat the Alberta Crafts Council is now c) To co-operatewith all public and able to accept individualmemberprivate agencies, international, ships. This means that you can national provincial and local and now join the Council as a voting with federal, provincial and local member and participate in the convelopment of and furtherance of crafts and other manually controlled technologies. d) To solicit and receive funds by
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
other lawful means and to receive gifts and propertyof any
e) to undertake all such things as
editor c/o the address below. All material in this publication is
related to the attainmentof the object of the Society.
Copies can be obtained from the
craftsmen should be sent to the
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
Alberta Crafts Council Paula Gustafson - President
Address: AlbertaCrafts Council 10645- 63 Avenue Edmonton,T6H IP6 Phone: (403) 434-0953
Message
manually controlled technologies.
publication of the Alberta Crafts Council. It is published 5 times per year: Sept., Nov., Jan., March, and May
ACC.
President's
way of contributions,subscriptions, legacies, grants or by any tion.
are necessarily or incidentally
f) The Society shall be a nonpartisan, non-profit,non-sectarian charitable organization.
g) The Society is to carry on its
operations without percuniary gain to its members and any fits or other accretions to the
Society are to be used ih moting its objects.
SEE SPECIAL
MEMBERSHIP
SECTION FOR
MEMBERSHIP INFORMATION
tinuing development of our
province-widecrafts organization. Membership in the Council was previously limited to craft clubs, guilds and other groups. The membership category for these organizations remains unchanged except for the increasedvalue of their vote. Craft organizationswill now have five votes where they formerly had one. In addition to individual and craft
organization memberships, the
Council
now offers student
memberships at a reduced rate
and special categories for membership by affiliated and commercial enterprises.
All of these changes will allow your involvement in planning and implementingthe Council's programs and policies. Any organization is only as vital as its members. Your membership in the Council — and your energies and ideas — are the force that will carry Alberta crafts into the future. I urge you to join us in this important mission.
Paula Gustafson
President
BOARD OF DIRECTORS President — Paula Gustafson
Vice-President
Secretary and
Monthly Newsletter Editor Director Director 2
Anne Ewen Lorraine Oberg Dr. Duncan Currie Wendy Liimatainen
Chairman of Outreach Chairman of Exhibitions. Co-Chairman of Exhibitions. Executive Director
. Katherine Dickerson . Gordon Snyder Margaret Bigelow . Jane Thomas
INDEX
O M e rnber
Associations
President's Message
2. Beaver Flats Pottery
The Future of Crafts
1. Alberta Potters Association
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. EdmontonPottersGuild
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. Oldman River Potters Guild, Lethbridge 21. Olds Handicraft Guild 22. Parkland PottersGuild, 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 ArtworksArtists Society, Calgary 30. Strathcona County Weavers, Sherwood Park 31. Sylvan Lake Heritage Handcraft Society 33. Wainwright Arts & Crafts Center 34. Western Works 35. Wetaskiwin Allied Arts & Crafts
% Acc(
cuc
PageI
Figurative Realism
Page 4-5 Page 6
Silversmiths
Page 7
ACC Gift Program Report
Page 8-9
Alberta Craft Council: A Very Condensed History
I Want to Be a Memberof ACC Membership Categories & Benefits
Page 10 Page 11-14 Page 15
Editorial, by Jane Thomas
. Page 15
John Chalke, 1983
Bronfman Award Nominee
Straw Weaving
Page 16-17
. Page 18
Les Manning, Alberta Ach ievement Award
Page 19
Canadian Crafts Council Letters
Page 19 Page 20-21
What's Up
Page 22-23
COVER
Straw Weaving by
Deborah Morgan Martin
see page 18
PRODUCTIONSTAFF DESIGN: Brenda Malkinson
COVER DESIGN: Jane Thomas EDITING: Jane Thomas Wendy Liimatainen PASTEUP: Ed-Web Printers
3
"Bedecked" Tapesty by Susan Kelly, 1978. 7 ft., 3 in. by 6 ft., 4 in.
Figurative Realism by Susan Kelly
"Kicking Bal's Tapestry by Susan Kelly. 1982 5 ft by 30 ln-
Tapestry combines a long standing attraction to working with fibreand a desire to illustrate. Figurative realism is used in the tapestries to explore unusual perspective with graphic imagery. The image should create a sense of mystery which will draw the viewer into making their own personal interpretation.This is achieved through unusual perspective to cause con•fusionor to suggest an alternate image. Creating the illusion of a doubleimage has proved to be difficult and not always successful. I also try to incorporate humor in my work. As my themes evolve, I'm continually challenged to satisfy the client's requests in commissions and my desire to include a personal statement that goes beyond the superficial. Most of my figurative work has dealt with the female form, because these tapestry 'designs are in part biographical, containing elements of my attitudesand points of view. I'm generally in. terestedin understandingwomen's roles, how I see myself and others. The two years I have spent in Alberta has made me
aware of the landscape, Until now, my imagery expressed has been introspective and personal, however powerful light, the prairie horizon and mountains has attracted me to consciously include landscape when designing. My interest in tapestrybegan as a design student majoring in textiles at the Ontario College of Art studying with William Hodge, Frances H. Gregor and Joanna Staniskis. After graduating in 1976, I visited Archie
Brennan, Director of the Dovecote Studios in Edinburgh. Although-thetime we spent there was Short it was critical in my development as an artist because of the confidence and encouragement Mr. Brennan gave me to continue, For these reasons I would advise students to seek out mature artists who work embodies the ideals students wish to make their own.
Susan Kellyis an
artist living in Calgary
In August 1983 1 attended the Canadian Crafts Council think tank on the Future of Crafts. Twelve professionals in the crafts from across the country had .been invited to write papers on our thoughts then spend a week at Canada Council's Stanley House on the Gaspe, thinking and talking about the future. I participated as an individual— not representing the ACC, therefore what I wrote (and write now) does not necessarily represent the attitudes of the ACC. The purpose of the Think Tank was to provide a base from which the CCC could do long range planning. The thesis of my paper, called "Crafts in the Third Wave — A Preliminary look" was that "crafts have peaked and are in trouble. Craftsmen and crafts must adapt to the post '60's, truly contemporary and rapidly changing society and the crafts organizations must play a leadership role in helping craftsmen adapt." I was not alone in this thinking — it was almost consensus that within the past maybe 2 to 3 years, crafts reached a plateau in development. We spent a good deal of time
discussing the apparent "peaking" of crafts, that developments in the work have slowed, that craftsmen seem to have stopped going out on limbs in their work, that there is a certain staleness in the actual works. Future articles in Alberta Crafts will delve into this and other particular matters in depth.
One of the things we did not accomplish was to paint a picture of the craftsmen in the year 2,000. We did not set a scenario to work toward — mainly because we didn't have a common vision of the future. This could be seen as either a success of failure of the think tank. Failure because we're still not
sure what we're working toward. Success because we are still thinking independently— allowing for greater overall flexibilityand direction for change. In-
dependent thought and flexibility may very well be the very keys to the future, indeed, "self determination" was an often mentioned goal. In any case, we identified numerous existing problems, and suggested many solutions. If most of the problems existing today can be solved, our future, whatever it looks and feels like, will be an improvementon the present. A theme emerged from our week. It was that "crafts of the 60's were a back to the earth movement" and "crafts of the 80's need to be "back to the mainstreet." Craftsmen need to play a more responsible role in the community, to gain perspective on the context in which we all live and to recognize the interrelationships of all things in and around us. Instead of bucking the world and way it's going, it's time we join 6
in to change it, through our work and by projecting in additional ways, the qualities that craft represents: sensitivity, integrity, care, insight, etc. In other words, the days of living in the bush, making crusty brown mugs is over. Communications was one topic dealt with at length. Since we are already into the "third wave" communications and the era of the "electronic cottage" revolutionit was obvious that we, especially the crafts councils, must move quickly to take advantage of it. By 1985, if all goes well, each crafts council will be joined by the Telidon or another communication system and each crafts council, as a resource centre, will be greatly magnified. Each participant put forward many ideas. Two of mine were for the need of a national newspaper on the crafts and for the crafts councils to determine their social responsibility. I expressed a strong concern that the CCC look at the most basic of all craft
The majority of participants agreed that the CCC should take a stance for nuclear disarmament and it was recommended to the Board. Probably the greatest, most immediatelysatisfying and productive personal effect this think tank had on me was a great amount of understanding gained between people from across the country. During the course of discussion in and out of the structured sessions we learned a lot about each other. We could not hope or even tried to speak on behalf of our provinces
but I think we all will take a heightened and special spirit of co-operation back to our provinces. Over the next many months I hope that Alberta makers will begin seeing evidence of this change. A premiliminary in house report has been written on the results of the think tank and presented to the CCC Board of Directors. The twelve papers plus follow-up papers from each participant will be published in the form of a book. Meanwhile, Alberta Craft will print a series of articles on various subjects raised at the think tank and the ACC may hold a future of crafts seminar (to be announed). We all should have many questions to ask ourselves and each other about .the future.
Jane Thomasis executive director of the ACC
Silversmiths
In October 1983, the "Silversmiths' exhibition was presented at Alberta Culture gallery, at Beavery House in Edmonton. Curated by Ross Bradley, the gallery director, the show is the first exclusively Albertan, precious metal exhibition in a public gallery. Showing were Cantine, Derby and Medland. Photos courtesy of Alberta Culture. By Bonnie Sadler Takach.
Bird teapot 1983 by Karen
walnut handle.
Necklace 1983 by Ian Medland,Edmonton.Fine and Sterling Silver with Maine turmahne.
Cantine, Edmonton.Silver with black
"At University. the basic traditional techniques for working With silver. gold. copper and brass were stressed. There wasNt much of the experimentationwhich is going on now with these metals and more modernalloys I ask myself if I should become more adventurous. and explore these new materials. Then I am remindedhow many years it has taken me tojust begin to understand my relationship With silver and I realize thät l. have years of exploration ahead as it is. While much of this work is repetitious (for example the raising of a bowl from a flat disc. one hammer blow at a time) it does not become monotonous because of the level of total control that is required at all times It is not a question of control over the silver. silver is an I incredibly cooperativematerial:what is required is control over my movement, control of what my action is telling the silver to do. With occasional diversions, I tend towards simple, functional forms. A utilitarian object should perform well and be a
pleasureto use as well as to look at"
Parrot Brooch 1983 by AnthonyDerby, Camrose. Sterling Silver and garnet.
KarenA
Gift
Report
Program
In September 1983, the ACC held its first showing of the Gift Program. Designed to serve government and corporations which have quantity gift buying needs, the Program was introduced as a juried, open call-for-entryfor Alberta craftspeople. One hundred sixteen craftspersons entered four hundredsamples. The work of 43 craftspeoplewas selected to be shown by juror's: Helen Collinson, Ring House Gallery, University of Alberta, Anne Lambert, textile historian and professor, University of Alberta and John Chalke, ceramist, Calgary. Nearly $7,000.00 worth of crafts were purchased. Extremely positive feedback from government and corporate visitors is encouraging and overall the ACC Board of Directors and Gift Program Committee (comprised of 24 volunteers)considers this year's undertaking a success. Next year's Gift Program is now being planned. If you have an suggestions and/orwould like to help, send us a note. (please also see letters section in this issue of Alberta Craft.)
Jurors'
Comments
enjoyed the experience of working with Anne Lambert and John Chalke who are both professional, conscientious, and honest individuals. This first Alberta Crafts Council Corporate craft show was very difficult to jury for a number of reasons. First of all, we were jurying as an initial step only. Later on, a second choice would be made — by the buyers themselves. Secondly, these buyers had a real interest in acquiring objects that would enhance their corporate image. Thirdly, all the juniors knew of fine Alberta craftsmen in the province who were not representedin the material we looked at, and the quality simple was not there through-out. We tried, therefore, to present the best work we could. I hope that the Council and the buyers were satisified so that the concept, which is a very good one, will be pursued in the future. With greater participationby Alberta craftsmen and continued support from the corporations and government sector, this should become an annual event that no one will be able to afford to miss, from a financial or aesthetic
point Of view."
Helen Collinson I spend a lot of my time looking at other people's art, craft. Different provinces, different countries. This I mention because I wasn't reviewing the recent assemblage of work at Beaver House in a total vacuum. ACC's idea of getting the cream of Alberta craftwork sorted and assembled for Alberta corporations to conviently review is undoubtedly a positive step. ACC provided the situation but rarely did the craftsperson supply the quality. To me it was a disappointing submission. Not in terms of quantity — there were lots of things to see — but too high a percentage lacked zip, orginality, guts. There were pieces relying on commercial Cut-outs, ideas from the like of Family
Circle magazine, people incestuously copying from each other. How are we going to learn from each other and better ourselves and our oft-times lousy world if we can get away with that? A sad situation. I
8
Photoby Margaret Bigelow.
have no other answers for anybody rejected, anymore than I have for my own work. This is merely a minor report on how I perceived my end of the situation as one of the juniors. John Chalke
DO
To become greater man mustcreate, and not repeat himself (forto repeat himselfwouldmean
September 16, 1983
piece, a product of routine.
Ms. Paula Gustafson President Alberta Crafts Council 10645 - 63rd Avenue Edmonton, Alberta
' 'The Corporate Gift Programmeis a project that
Dear Ms. Gustafson,
but the consuming of stores laid up in the past). I know that everything, even the shape of the hull,
must live and grow and constantly transform
itself;else it is mere deadmatter,a museum Antoine de Saint-Exupery
excites me. For years I have been amazed at the often
boring or sometimes tasteless gifts emanating from business and government. The ACC has identifiedan area which can benefit from ACC involvement and
vice versa. As a juror, I found the entries in this first year
somewhat disappointing. Although the quantity was greater than I might have expected, the quality was not. I was impressed by the large number of entries from a much broader range of craftspeople than I had expected, however the absence of some of the high quality established craftspeoplewas sadly noted. I was perhaps most disappointedby the proliferation of entries which represented a ' 'Family Circle" approach to craft. The dependence on published patterns and kits was strongly evident. Some of these entries involved excellent workmanship but totally lacked any individual creativity or style. I couldn't help thinking that many of these people could be producing items of both quality and orginality if they had a stronger view of themselves as creators and if their vision were not limitedby the stereotypes presented by mass media. Some of the entries were obvious examples of poor
craftsmanship. Unfinished edges, unevenly applied finishes, poor quality materials and other problems prevents many entries from providing the joy of a finely crafted object. Many of the entrants could learn a lesson from corporations regarding image and packaging, A few people had developed well designed packaging, business •cards, hang tags, or other forms of presentations. Many other people actually detracted from their entries with poorly executed auxilliary information,while some entries lacked anything, even basic legal requirements such as textile fibre content and care labelling. Perhaps the ACC could provide some assistance to craftspeople in this area. the I appreciatedthe opportunityto participate in jurors other the jurying of this project. I found thoughtful and thought provoking in their critiques. impressive arThe organizing committee included an confident that they I am ray of dedicated craftspeople. year's project and will build on the experiences of this for Alberta craftexcellence develop a programme of speople and corporations." Anne M. Lambert
T6H IP6
Thank you for the letter dated September 5, 1983, to the Hon. Hurst A. Schmid, Minister of lnternational Trade, extending an invitation to him to attend a private viewing of Alberta crafts at Beaver House on September 14 and 15, 1983. The Minister was, unfortunately, unable to accept your invitation since he was out of the country on a trade mission, but asked me to respond to
you direct and attend the Gift Program Showing on his behalf. I attended the craft show on September 14th, and was most impressed with the high quality gifts that were on display. It does appear that a number of these gifts could be suitable for presentation to incoming dignitaries to promote Alberta, and I am investigating the possibility of arranging a private viewing to the senior management of our department to obtain their opinions regard the suitability of the gifts selected. I have had discussions with the Alberta Crafts Council for some considerable time, asking for assistance in obtaining new Alberta gift ideas. I am very impressed with the enthusiam and advice
I have received and an very pleased to continue working with the Crafts Council to promote the sale of Alberta crafts. We wish•you every success with your Gift Program. Yours Very Truly,
Phyllis J. Ward Missions Co-ordinator
Government of Alberta, Economic Development.
' 'The art is in living... artisan involvement in life and expression of life. All humans are artists, but they have not been conditioned to have faith in their natural abilities. The physical manifestations of art are out-croppingsof a life's experience. Artists are a window to the civilizations they live in. They are carriers of light and wisdom or wardens or arrogance and indulgence. It is their choice, if they have the strength to make it." Les Platt — Alberta sculptor
9
Alberta Crafts Council History Very Condensed
Under the presidency of Jane Thomas — (1979-81), the ACC was begun. Under Orland Larson (pres. 1981-82)membership grew and more than doubled. Anne Lambert's and Duncan Currie's presidencies saw the first major fundraising and hiring of staff. Now in our fourth year of operation, the ACC is at a critical point. President, Paula Gustafson and the '83/84ACC Board of Directors may have the toughest job of all — to keep it all rolling. Your help is needed. This year the ACC has finally been very successful in aquiring financial supportfrom goverment— but we have considerable distance to go yet if the ACC is to survive the year. Member of Parliament for Edmonton South, Doug Roche, through the Canada Community Development Program has assured the salaries of the administrative staff to February 1984, but the ACC urgently needs funds for office rent, telephone, postage, travel, supplies, printing, and all those other things to run an organization. Don't
forget
that if you
are
a craftsman
—
the ACC
is working for you — and it has already for four years. Boards and Directors and Committee members have given four years of time, workand worry. Government had done their bit. Now with individual memberships available Alberta Craftsmen can do their part — support your council.
Why should you join the ACC? 20 GOOD REASONS
1) ACC opened discussions with Economic Development to assist craftsmen in marketing their work out-of-province. At least four craftsmen have received generous assistance from Market Development Assistance Program. 2) ACC published calls-for-entry for shows, awards, fairs, opportunities locally, provincially, nationally, internationally. 3) ACC beginning discussions with Federal Industry Trade and Commerce for those of you who are interested in exporting your work. 4) ACC refered countless buyers to countless
galleries, shops, studios and fairs to buy your work.
5) ACC have continued on-going discussions with Alberta Culture to improve support of the crafts. 6) ACC influenced several times the major media vehicles — Edmonton Journal, Calgary Herald, CBC, Visual Arts newletter and many other newspapers and radio stations to carry news of the crafts.
10
7) ACC convinced Employment and Immigration Canada that a major crafts marketing survey was needed in Alberta. Project underway and results will be used to bring benefits to the crafts, craft. speople and public. 8) ACC convinced the federal government that Alberta craft students need a chance to break into the real world through apprenticeship. Apprenticeship Pilot Project now wrapped up and leading toward more development. 9) ACC convinced Employment and Immigration Canada that administrative staff were essential to
such a large organization.ACC given one year
contract (Feb 83-Feb 84) to pay salaries so that administrativestaff can handle the day-to-day avalanche of duties. FOURTEEN jobs have 10) ACC as resultabove been created in the crafts — extremely rare op. portunities to refine and learn craft organization administrationand various aspects of craft production.
11) ACC sent and carried news of Alberta crafts across Canada and around the world. 12) ACC though Gift Program has begun to influence corporations and government to buy high quality objects hand crafted in Alberta. 13) ACC is in beginning stages of establishing slide registry for historical, reference and marketing purposes. It will be the only slide registry specifically for crafts in Alberta (your work). 14) ACC maintained the national and international networkthrough the Canadian Crafts Council and
World Crafts Council. 15) ACC distributedup to 8,000 copies of each issue of Alberta Craft to shops, galleries, book stores, suppliers, and into the public to raise awareness of the crafts. 16) Through the CCC work on your behalf, federal
sales tax was eliminated on craft sales up to $50,000.00.Can you imagine the paper work
alone this saves you? 17) The CCC's top priority for 83/84 is the investigation and publishing of health hazzards in the
crafts. Your healthis importantto the ACC and
the CCC.
18) Given you a wide open opportunity to question, comment,criticize, praise, ask, tell, demand, and receive. The Alberta Crafts Council is not govern-
ment. Every Board member is elected and ac-
countable. Staff are hired to help you. The ACC is a democratic organization. With your membership paid you have a vote. 19) To supportall the possible activities you and the
ACC can dream up — e.g.
marketing system,
craftspersons directory, suppliers lists, apprenticeships, scholarships, awards, lobbying, etc.
20) Why Join? To show that you continuing support. To learn. To grow. want To meet people. TO have a say. To keep the ball rolling.
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Editorial
This is Jane Thomas, ACC executivedirector,
writing as acting editor of AlbertaCraft. The two jobs run so closely together that sometimes it is difficult to tell them apart. Things I find our for Alberta Craft I use in the ACC office daily. Things I do/hear/seeas executive director get carried over into this newsletter. I'm telling you this to emphasize how much you and the exchange of news is essential to the ACC. 'IWhere can I buy a hand quiltedhot pad?" "l'm visiting from Korea and wouldlike to line up an ex-
change teaching opportunity.""I'm going to a convention in Hawaii and want 50 hand printed silk scarves as gifts. Where can I buy some?" "We're opening a new store and want to feature Alberta craft-
speople. Could you suggest some people?" "Do you know someone who can give us a workshop?" These are just a few samples of 10-15inquirieswe get every day and answering themso-far is hit and miss. With my years of involvementin the crafts in Alberta, I usually have at least a half a dozen suggestions for each question but that's notvery fair is it? That's why we're asking you to fill in the four page centrefold "Membership Form" and mail it in — we Need to Know YOU. Regarding the future of Alberta Craft. At the last ACC Board meeting it was decided to suspend the publication of Alberta Craft in this form, (typeset, and offset printed) until we can generate enough revenue regularly to make it viable. Advertising sales will be pursued with a vengeance while we try to work out the bug bears of all Canadian distribution periodicals. But don't worry. All people buying membership will be served up with all the news and on an even more frequent basis. Alberta Craft after this issue (we hope temporarily) will be published in typed and photocopy form. It will be published monthly.
The The ACC's financial situationis not rosy the to generous very been has federal government in out runs generosity ACC this year but their
February. With Alberta Culture's funding freeze this year the ACC received the same amount of grant this year as last ($10,000.00)when there was no office ACC will not operating or projects at all. Put bluntly the that you urgent It is survive withoutyour contributions.
buy your membershipnow and if possible,
make a
donation. drop into the EdOne more thing, please feel free to don't all come at monton Office. Tiny as it is (please Our little library once) it's packed full of information. from newsletters has all the other crafts councils
new donations of across the country and several Gustafson's (ACC presibooks, for example: Paula weaving, a dozen books dent) beautiful book on Salish Head of Exhibitions, British donated by Ralph Turner,
Crafts Council on everything from shoes to new directions in fibre and jewellry. It's not a bad idea to phone ahead (we might be out selling ads or whatever) but do feel free to come by — and please bring your membership. Cheers!
Jane Thomas
MembershipCategories and Benefits
ACC membershipcategories have been expanded to include: Student, ($12.50) with the followingmembership privileges:
— permittedto speak at ACC meetings — no vote — not permitted to hold office — receive ACC publications including Alberta Craft — participation in ACC-sponsored exhibitions
— participation in slide registry — participation in ACC-sponsored special activities — all other membership privileges
Individual, ($20.00) with the following membership
privileges:
— permittedto speak at membershipmeetings — one vote — may holdoffice — receive ACC publications including Alberta Craft — participation in ACC-sponsored exhibitions
— participationin slide registry — participation in ACC-sponsored special activities — all Other membership privileges
Organizations ($50.00) (Regular) with the following membershipprivileges: — permittedto speak at ACC membershipmeetings — five votes — may hold hoffice — Executive Officers receive ACC publicationsincluding Alberta Craft — participation in ACC-sponsored exhibitions — participation in slide registry — participation in ACC-sponsored special activities — all other membershipprivileges
Organizations ($35.00)(Associated) with the following membershipprivileges: — permitted to speak at ACC meetings — no vote — not permitted to hold office — Executive officers receive ACC publicationsincluding
Alberta
Craft
— not permittedto participate in ACC-sponored exhibitions — not permittedto participate in slide registry — participation in ACC-sponsored special activities — all other membership privileges
Commercial/lnsitutuions ($50.00) with the following membership privileges: — permitted to speak at ACC meetings
— no vote — not permitted to hold office — receive ACC publications including Alberta Craft
15
John Chalke 1983
Bronfman Award Nominee
by Katherine Dickerson
Photos by David Allen
John Chalke was the Alberta Crafts Council's 1983 Bronfman
Award nominee. The Saidye Bonfman award for excellence in the
crafts is given to one Canadian craftsperson per year for excellence in work produced over a significant period Of time and for innovationin relationshipto traditionalmethods. John Chalke was born in England in 1940. He has taught ceramics at many London area art colleges. Since moving to Canada in 1968 he has taught at both major Alberta Universities and at the Alberta College of Art. His works are in private collections throughoutEngland, U.S.A., Canada, Australia, Italy, Japan, and New Zealand. His work has been included in most major internationalceramic shows and is included in over eleven books on ceramic art. The followingis a short conversation between John Chalke and Katharine Dickerson. K.D. How did you happen to come to Alberta from England? That doesn't seem like the normal progression of events. J.C. Sure, it happens all the time! There was job advertised for the University Of Calgary. assistant professor of ceramics. The word professor is a very highfalootingword, very academic. I laughed at it and thought how typically North American, inflated values. But of course one could say very similar things about England. I came over saying "I'm only going for a year.", and they said "Sure." , and I said "Yes, I am. And I came and decided that it was just a fine place to be. Although, it did hurt. But a 10tof the best things in life do
hurt, or so I'm lead to believe by the noble savages around me! I stayed and often think where else would I live? I really don't know. I like it here and I really like the light. R.D. Do you think it has affected your work?
J.C. I was reluctant to think so for many years. I saw the word land-
scape occur in people's work a lot and thought it was a very
shallow, almost uniform way of describing what ones work was all about. It was looking for urban influences more strongly. But I know now, insidious as it is, I enjoy landscape and its rules of form have
definitely come in. I was very reluctant for many years to admit that
they were there. I was looking for something else to do... oh the glitter bop rock world things I was used to, and perhaps early cultures that Alberta doesn't have.
K.D. There seems to be a lack of history compared to England.
J.C. Yes. I vas looking for that connection and I didn't find it I was
pulling outside and going back to Europe or to Japan for those historical sources. Now in the last two or three years I have become
aware that they are not as important. They've definitely been pushed to one side by the insistance of the landscape and climate here. It was hard tounderstand or to articulate that change. and now I'M
just beginning to be able to do so. K.D. Don't you think that only comes with retrospect? When you are
going through those changes, you are confused and sometimes fighting them because you don't know where they are coming from. Then when you get a solid enough body of visual work it makes its own sense. J.C. Yes that's true. It helps to see one's retrospective even in somethingas simple as a sheet of slides. Retrospect is the reason that two or three years ago I started puttingdown my first "book" which is really a collection of slides which one day I hope to put into
a slide disolve form. Maybe I'll never show it to anybody else. I
started with the day I was born, the Battle of Brittan Day. A lot Of people died thatday and I was born. I find that very sobering, and yet that must happen to many people. I mean it was recorded specific day... K.D. So you still do feel a real tie with history? J.C. Yes, again it might be in restrospect. I'm not quite sure why yet. Probably one day that will unfold clearly, but right now it's not very clear. I don't mind a lack of clearity, but it's always nice to be able to articulate.
K.D. Do you think teaching helps you because it forces you to ar-
citulate daily?
16
J.C. Well, indeed it does. I think any kind of external examiningof yourself or being forced to examine yourself in front of people makes you honest. It all ties in and reinforces your work. That's why I teach as well as do my own work,
"Pattern Talk" by John Chalke.
Wayne Ngan, a potter from HornThe 1983 $15,000 Bronfman Award recipient was recognizes his major contribution to the by Island, British Columbia. "The award reintroduction of the classic tradition of his Chinese quality of Canadian life in
heritage throughbasic, robustform, simple glazes and minimalsurface decoration.
17
O Straw
Weaving
by Deborah Morgan Martin.
Straw weaving, or the art of plaiting corn dollies, is a craft that dates back many thousands of years. Originally, it was believed that a Spi rit of Fertility lived in the soil and died when the grain was harvested. To
preserve this spirit, a corn dolly was plaited from the straw of the last sheaf of grain cut. It acted as a house
or resting place for the spirit and was kept in a place of honor in the farmer's home. By keeping the spirit alive, it was believed that a bountifulharvest would be ensured the followingyear. I first learned about straw weaving while hitchhiking through England on my honeymoon seven
years ago. It was harvest time and everywherewe
looked there were corn dollies being made or worn or used as decorations in homes and churches, I brought some home with me but almost forgot about them until three years ago when we moved to Vegreville. I was suddenly surrounded by miles of beautifulwheat fields and wanted right away to try my hand at straw weaving. Easier said than done. Each county or shire in England had its own traditional corn dolly design. (Al grain fields in England are called corn field — thus the term corn dolly). Instructlons for making these designs were rarely recorded as each county wanted to protect their own original design. The know how was simply passed on from father to son and so on. I managed to find some American publications that had all the basic weaves but totally ignored the history and traditionalorigin of straw weaving, which to me is terribly important.But it was a start. I spent the first year just trying to tell the difference between wheat and barley and oats. The next year I discovered that there are many different varieties of each grain, some longer than others, some with bigger grain heads and some that don't lend themselves to straw weaving at all. And this year I grew my own wheat in my gardenl Introducing straw weaving to a farming community has been quite an adventure. The first time I set up a table at our local farmers market I had more people comment on the quality Of the grain I was using than the weavings themselves! Than I started teaching. I taught one workshop in a one room school house in a town of 200 on a lovely fall day with the combines working In the fields beside the school. The atmosphere was so perfect — but all my students brought their children to the class and
18
spent most of the time catching up on the latest news. I'm learning a lot about country life!
My closest friend, our children, and I have spent some delightful days driving from farm to farm trying to find the owner of a particularly nice field of grain, being invited in for coffee and sharing our knowledge Of straw weaving. The farmers are really intriged with the idea that something so special can be made from something they've spent their whole lives working with, and the odd person from the 'old country' will remember straw weavings their grandfathers made them when they were children, and having wonderful stories to share with us. Harvest is now over, and my basement and garage and porch are full of wheat. Loose straw gets tracked in and out of the house, and gets into everything,but my family is being a good sport and I'm looking forward to getting ready for all my winter shows and sales.
I've just started a company called "Whole Wheat Works" and when I look back over the last three years, I think perhaps, in its own quaint way, my straw weaving has and is creating its own history and traditions.
Deborah Morgan Martin is a craftsperson livingin Vegrevil/e.
4
MANNING LESAchievement Award
Alberta
Winner
Les Manrung,Head of BanffCentresCeramic Studio has won the Alberta AchievementAward for his long and outstanding volunteerservice to the community. Nominated for the awardby the Alberta Pot-
ters Association (APA), Les became regional representative for the APA in 1969and president in 1971, While president he became chairman for the
Ceramics International '73 exhibition and then moved on the be first president of the Canadian Crafts Coun-
cil. Les is a founding member of the Alberta Crafts Council and was it's firstvice-president. Les says about the communityinvolvement'Jif you don't invest anything in your communityyou don't get anything back. I always think I should get back to producing my own work but then somethingwill happen — like a special letter froma colleagueor formerstudent arrives — and it makes all the headaches worthwhile. I see communitywork as a duty." Telegram sent to Les by the ACC "Your contribution to crafts in Canada, especially in Alberta, is now being recognized through the Alberta Achievement Award. Your contributionwill continue through the many lives you touch and throughthe objects whose creation you inspire. What is good is given back." Congratulations, Les.
International has announced a scholarship of U.S. $3,000 to enable the recipient to study textile arts in Sweden and to gain experience in Swedish culture and tradition.Open to American or Canadiancitizens, minimumage 25 years, minimum residence requirement ih Sweden 6 months. Specialization in the field of textile/fibrearts. Some understanding of Swedish an asset. Further informationfrom: Louise Enhorning, 75 Glen Edyth Dr., Toronto, Ontario, M4V 2V8 or Swedish Women's Educational Association International, Vanja Haley, Chairman, Scholarship Committee, 4709 Hampden Road, Corona De Mar, CA 92625, USA. Deadline for applications: February 15, 1984.
The Ontario Woodworkers' Association (OWA) P.O. Box 538, Missassauga, Ontario, L5M 2CI has
published a Resource Directory containing approximately 500 entries under the following categories: Woods, Finishing, Abrasives, Adhesives, Hardware, Machinery, Small Tools, Services, Education and Speciality. For further informationcontact OWA at the above address. The new Seagram Museum will open in Waterloo, Ontario in April, 1984. CCC has been advised by Dr. Peter Swann, the Museum's Director, that the museum hopes to sell objects associated with wine and spirits, made by Canadian Craftsmen. If interested, contact Dr. Swann at the Seagram Museum, 57 Erb Street West, Waterloo, Onatrio, N2L 6C2, perferably sending some illustrationsand prices.
Celebration '84 — A Sense of Occasion 1984is a jubilee year for Toronto marking the City's Sesquicentennial and Ontario's Bicentennial. From June
I to July 2, 1984,a special invitationalexhibitionof
contemporary craft will be presented at Harbourfront'sart galleries.
Presented by Seagram, distillers since 1857,
Canadian Crafts Council Nova Scotia weaver Patricia McClelland is CCC's new President, first Vice-President is Adrienne Van Riemsdijk (Ontario),second Vice-President is George Fry (New Brunswick) and Executive Member-at-Large is John Porter, (B.C.). The mandate of the Canadian Craft Council is national and international.They are the representative body in Canada for the World Crafts Council, itself a member of UNESCO. The CCC embraces all artisans in Canada, with a principal responsibilityfor the fulltime practising artisan and the highest possible standards. A substantial part of their program naturally involves the federal governmentand its agencies.
The Swedish Women's Educational Association
CELEBRATION '84 will include the work of over forty craftsmen from Canada and the United States. It is being organized by the Ontario Crafts Council, the American Craft Museum and Harbourfront, and will especially feature outstanding examples of costume and jewellery. The booklet, "Canada Council in the 1980's: The Applebaum-HebertReport and Beyond," is available free of charge from the Canada Council's CommunicationService, P.O. Box 1047, Ottawa, KIP 5V8.
Taxation: The Canadian Conference of the Arts
(CCA) has published a special edition of Arts Bulletin on Taxation.Copies available on airst-come, firstserviced basis from CCA at 141 Laurier Avenue West, Suite 707, Ottawa, KIP 5J3. "Hand and Eye" a seven part CBC TV series to be shown between January and March, 1984, featuring Canadian and Internationalartists and craftsmen. including Madeleine Dansereau, Stephen Hogbin,
Robin Hopper, Ann Mortimer,Enid LeGros, Joe
Fafard, Carol Sabiston, Marietter Rousseau-Vermett. Don McKinley. Robert Jekyll, Daniel Crichton and Karl Schantz. 19
LETTERS
Dear Jane:
Further to our telephone conversation concerning the gift program, I have continued to think about this, and decided
to jot it down so you can file my commentsfor future reference!
I feel a very negative impression has been created
amoung all artisans whose work was rejected, and this is surely contrary to the entire purpose of the Crafts Council which is supposedly promotingour work. DO we really need a jury? Was a lot of bad work submitted? When a jury is hired, they are being paid to eliminate. If they accepted almost all submissions, they might be deemed not to have done their job well. It would be interesting to see the articles that were rejected, were they really bad, or unsuitable? I rather doubt it. Most craftspeople are proud of their work and would send only the best. I wonder also if we are allowing the snobbishness of art
circles to infiltrate the craft world. Crafts should not be judg-
ed as art, or judged by gallery artists, their standards are different and not necessarily right. If a jury is necessary, I feel they should be ordinary folk with good taste — not too many qualifications! We are judging for saleability after all. Your customers, although business people, are still basically ordinary folk too like the rest of us, with a variety of tastes, good, bad, indifferent. Why should we pre-select for -them? The customer's choice is the ultimate judgement. We are rendering a dis-service by limiting their choice, they are well able to do their own choosing. Quality of workmanship should be the only criterion.
Personally, I was first incredulous and totally surprised,
then most disappointed to discover that four out Of five entries were not shown. In order to submit to this program at short notice, I re-arranged a holiday and dropped everything to create a good collection, presenting a variety of designs and prices graded through all categories, expecting to sell mostly the cheaper items. In accepting only the top priced piece this planned approach was totally wasted and more or less elminated my chance for a sale. Were the jurors subconsciously selecting a nice exhibition,rather than a sale? Your work would be simplified next year if you automatically
approved all craftsmen, whose work was accepted this year, judging only new submissions and those whose entire collection was rejected.
Also to be considered was the fact that in •order to
guaranteed delivery of a certain number of possible orders; I had to invest in all the necessary materials to honour that commitment in advance. I mention this not just to beef, but
because obviouslythis holdstrue for all entries.ThiS has been a brink-of-survival year for many craftspeopleand a
point to keep in mind. I would be interested to know, what kind of items were ordered and at what price levels, and did you get a good response from the corporations you invited? Consider also the possibility of holding a one or two day sale after the business showings are finished, open to the general public, to help sell the samples. More revenue fot A.C.C. and less work to mail back. I would be sorry to see the commission go higher than 15% at least until thå economy is more bouyant, I notice many have reduced thélt
20
prices and are operating on marginalprofti(loss?). If a submission fee is deemed necessary $5.00 should be maximum.
Hope these thoughts will help resolve a more positive policy for future gift programs and sales, we need these
outlets.
Sincerely Carolyn Kostenchuk P.S. MembershipRenewal fee attached
Dear Carolyn:
Thank you sincerely for you letter. It is questions and
comments such as yours that help us examine ourselves. By addressing them in Alberta Craft, craftspeople hopefully will be reminded that they should question the ACC and let their opinionsbe known.
The Gift Program was introduced after we recognized that the government and most corporations have considerable gift requirements. Corporations give gifts to employees and clients to say thank you, congratulations. for awards, mementos, retirements, sales incentives and the like. Governments as a tradition exchange gifts with foreign dignitaries. The purpose of these gifts is a diplomatic one — to remind receivers of the presenting province or country.
Corporate and government purchases create a source of
pride in the crafts and an increased public awareness. We think then, if crafts are given to represent our province, or are used on very special occasions they should be the best quality available within the client's budget. The ACC feels responsible to offer the best — even if the buyer does not recognize quality. It will, in the end serve them better as well as build a solid reputation for Alberta hand made crafts. This deliberate public educational role is what distinguishes the ACC from other entities. There were only two practical ways to offer quality — a juried call for entry or give the government and corporations a selected list of craftspeople. We felt that every craftsperson should have an opportunity to participate and decided to send out a call for entry even though there was so little time.
Helen Collinson, John Chalke and Ann Lambert
respected for their knowledge and senstivity to craft were selected as jury members. Each item submitted was carefully .considered in regards to design, workmanship, and yes,
personal expression — the thing that distinguishes craft from factory made objects. Where entries were of tradi-
tional nature it was important that they be true to the tradition. A lot of entires did not meet the above criteria. Some were not made in Alberta, some were made from kits or relied on commercially manufactured elements. A significant quantity were not of original design.
The amount of commission on sales is still a question.
15% nowhere near covers the real cost of providing such a
service — it was only possible this year by enourmous
VOLUNTEER effort. In the future, entrants will be required to be members of the ACC. An entry fee could cover the cost of
writing and sending statements from the jurors to the entrants. We are also considering what the corporations and government should pay for ACC's service of bringing the o best of Alberta craft under one roof — and then retailing samples throughoutthe year for their viewing and future purchases.
We are going to try to include more articles in Alberta Cnntinued on next page.
NOV. 24 - 27, 1983 DAILY 10 a.m. -9 p.m.
SAT. & SUN. 10a.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
Children Under 12.' Free
Letters continued... Craft about entering shows, selling and consigning to
galleries, how to obtain loans, cost analysis etc. and managing a small business — what each craftsperson is — even though the only person hired may be ourselves and usually. below minimum wage! It should be emphasized that the organizing and first hosting of this project has viewed as an experiment. It was critical to iron the bugs out of the system before promoting in a big way. We have learned a lot and now feel confident in reintroducing the project and promoting it to a much wider corporate audience next year. Response of all who attended was extremely positive. Whether or not sales were made at this time, many importantdoors were opened. This year's program was an investment of everyone's energy, and we hope that year to year the Gift Program will continue to grow. Gift Program Committee
Dear Editor:
I'm more than a little freaked out about the new taxation llaws that Tony Onley is talking about. The papers have been ifull of the news that artists are now going to have to pay Itaxes on unsold works. I've got a studio full of unsold works! llt's bad enough that my work doesn't sell like crazy. Now I'm !going to be taxed for NOT selling them? What do I do?
(Clay Warp
Dear Clay:
e
Alberta Craft consulted with three chartered accountants for you. All say first of all that you should relax. They tell us that the Tony Onley case has been blown far out of propor-
tion in the media and that, in fact, there have been no changes In tax legislation,that you shouldexpect to be allowed deductions for the cost of producing works as you
have been. You won't be taxed on unsoldworks unless Revenue Canada things something's fishy. The they think he "Revenooers" are after Mr. Onley because
JACKIE CUTTING
530-9 Ave. N.E. Calgary, Alberta
T2E OWI
CALGARY'S LARGEST ARTS & CRAFTS FAIRE
Adults: $1.50
work For more information, write or phone.
(403) 230 - 0829
writes-off unreasonably high costs. What our advisors tell us
though. is that existing legislation IS open for interpretation and that's what's happening in Onley's case. All three of these chartered accountants, each of who are very familiar. with the arts and handle artists and craftmen's accounts say: go to your accountant.
Alberta Craft wants to help you. We are very pleased to try to answer any questions you may have. Serious or otherwise. One of the delights of working in the media Alberta Craft is legitimate press, you know — is being able to call up or interview anyone and question them on behalf
of a public (you). The ACC
has
resources at our finger tips. Try us.
enormous
FOR
SALE
Two looms, eleven foot weaving width, four harness counter — balanced Leclerc loom — $3,000. Five foot weaving width, eight
harness Toika Finnish countermarch loom — $900.00 Contact
Wendy Liimatainen
466-1789 (evenings) Edmonton.
21
WORLD CRAFTS COUNCIL The Alberta Crafts Council is an affiliate of the World Crafts Council — an international agency representing craft interests throughoutthe world and speaking to the support and survival Of crafts everywhere. Canadians are represented on the WCC by Orland Larson, Vice President for the North American Assembly and former president of the Alberta Crafts Council.
CRAFT INTERNATIONAL — published quarterlyby the World Crafts Foundation cover crafts of the modern world. The July-Sept. issue was a salute to Canadian Crafts. Subscription rate — $16/yr in U.S. funds — 32 spring Street N.Y. N.Y. 10012, USA. A CRAFTS SCHOOLS DIRECTORY is now available through the New York office at 401 Park Avenue South,New York, N.Y. 10016 USA.
XMAS Marketat Design Workshop,10203 - 86th Avenue, Edmonton. Saturdays, November 26th to December 17th, 1983. 10:00 a.m. to 3:00 p.m. Sponsored by the Old Strathcona Foundation.To participate call: 433-5866,Elaine or 432-1030,Dan. Quilt Canada/84, May 23-27, MountSaint Vincent University, Halifax, Nova Scotia, sponsored by the MayflowerHand Quilters Society, to include the annual meeting of the Canadian Quilters Association, 2 days of workshops, a day of seminars and tours, Quilt Show, Fashions Show, Merchants Mall, Down Eat Lobster Dinner. For informationand registration send large SASE to: Valerie McMillin,Registrar, Mayflower Hand Quilters Society, P.O. Box 3664, Halifax, South, Nova Scotia, B3J 3K6. Tim Sikyea, one of the professional designer craft-
smen who hosted an apprentice on the ACC's Appren-
ticeship Pilot Project last summer, recently returned from Munichand Paris where he was looking for contacts to help merchandise his fashions. Says Tim "Paris was very responsive. So was Munich.The Germans are very aware of Canada. I'm going back again — hopefullyin January when I plan a show at Canada House in London and a couple of shows in Munich, one of which will happen in a castle. I also plan to exhibit my stuff at the French manufacturer's shows.
SPIRIT PASSING THRU The CANMORE GUILD GALLERY in Canmore, Albertapresents"SPIRIT PASSING THRU" water-
22
colors and Oils by PATRICK YESH and KATHY
ROMANCHUK. Introducing the art of Gay Polly and Nisha Wuttnee. The exhibition, on the theme of the Spirit of the Native North American People, will have an Opening Nite, December 2, Friday from 8:00 P.M. to 11:00. It will continue until Sunday December 18th. The Guild Gallery, located above the Canmore Library, is open Saturdays and Sundays from 1:00 to 5:00 P.M. Pottery Function and Form Workshop: The Function and Form Workshop set for January 9-20, 1984 is designed to bring studio artists together for discussion and feedback to their past years of productions. The twoweeks will also be used to produce a group of works by each artist culminating in a small exhibition. Instructors:Tom and Ginny Marsh. Tuition fee — $240.00. Write for application forms to: Registrar, Banff Centre, Banff, Alberta TOL OCO. The Vicotoria Hand Weavers' and Spinners' Guild will make its 50th anniversary next year and will celebrate with FIBRE GOLD Conference '84 to be
held May 18th to 21st, on the campus of the University of Victoria. Some of the highlights of the Conference will be: a
special lecture by Dorothy K. Burnham,Associate
Curator in the Textile Departmentof the Royal Ontario Museum; a juried show; two fashion shows; interest sessions; a teachers' show; educational booths and demonstrations; a sample exchange; commercial booths; and more. Applications will be available in November. If you
would like to receive one, plus furtherinformation, send your request to: FIBRE GOLD Conference '84, c/o Mable Mitchell, 4250 Cedar Hill Road, Victoria, B.C., V8N 3C5.
Know anything about quilts made in Alberta before 1960? Own any? Interested in sharing your knowledge and lending your pre 1960 quilts for exhibition?Elyse Eliot-Los, curator, Muttart Gallery, Calgary, (call 266-2764) and Sandra Morton,Social History Curator, Provincial Museum of Edmonton,(427-1730)are putting togehter an exhibition to open at the Muttart in September 1984. Give Sandra or Elyse a call.
Santa's Workshop Again this year we will be presenting a joint multimedia exhibition for your pleasure and Christmas gift buying convenience, All items can be removed upon
0
sale. We are hoping to present the work of over thirty artists and craftspeople this year.
Stony Plain MulticulturalCentre, Stony Plain. November22 - December23. call 963-2777.
Craftsmen in Schools? The ACC is receiving
significant number Of requestsOf for craftsmen to go into schools to give brief demonstrationsor craft experiences to children.Are you interested in taking your craft to kids? Contact the ACC and/or
David Hursin, MontroseElementarySchool, Edmonton, 471-2359(b) or 475-1559(r)David is looking for craftsmen to teach kindergartento grade three.
Annual Christmas Craft Exhibition Opening December I, 7:00 p.m. and continuing through to December 24, 1983. Rubaiyat Craft Gallery 120 - 8 Avenue S.W.
Calgary, Alberta T2P 183
(403) 261-5767 Gallery Hourse: 10 a.m.-6 p.m. Mondaythrough Saturday.
Expressions Artisans Workshopand Gallery, 2612 Kensington Rd. N.W., Calgary, (283-0048) has recentIy opened.
70% CANADIAN MOHAIR/30% WOOL product available from — Fine Yårns, P.O. Box 1414, Sudbury, Ontario (705)566-8811.
CONVERGENCE '86
Convergence '86, the biennial conference of the Handweavers Guild of America Inc. will be held from July 17-20, 1986. at the new MetropolitanToronto Convention Centre. The theme for the conference is "A Panorama of Canada" — A fibre Spectrum. The theme will be divided into four segments: 1. Historical — The founding of Canada, and the traditions of Canada.
2. Developing Canada — The effect of ethnic and indigenous people. 3. Contemporary Canada. 4. The Future. For further informationcontact: Ankaret Dean, Publicity Chairm CONVERGENCE '86 346 Dundas St. West Toronto, Ontario M5T IG5 (416) 977-3551
Artist Colony at Banff Centre
Canada's first artist colony dedicated to year-round use by professional artists will begin operation at Banff Centre in January. 1984. Eight especially designed private studios are available to established writers, visual artists, composers. and some younger, artists of promise. The studios offer artists the oppore tunity to pursue their work uninterruptedin seclusion with food and maintainance services provided. Write to: The Registrar, Banff Centre, Box 1020, Banff, Alberta TOL OCO.
Banff Centre Artists and Teachers in Schools Program In co-operationwith Art Educators in Alberta, the Visual Arts Department of the Banff Centre is sponsoring a new program to bring professional, practising are tists in contact with teachers and students in Alberta's school system.
Artists are contracted for a six day period to
prepare and carry out projects they propose to Banff
Centre.
Eligible artists are those that are: — a Canadian citizen or landed immigrant resident in Alberta, — be primarily involved in producing original work in painting, drawing, sculputre, photography, fibre arts, ceramics, film or video, printmaking, design, etc.. — have completed formal artistic training and/or be practising as a professional artist. Full details, including application forms are available by writing "Artists and Teachers in the School Program, Visual Arts Department, Banff Centre, Box 1020, Banff, Alberta TOL OCO.
CANADIAN CLAY CONFERENCE, Banff Centre
May 7-11, 1984. It's time for the Ceramic Arts Community in Canada to start talking. The Canadian Clay conference '84 Committee, under the auspices of the Alberta Potter's
Association, invites you to look at concerns from Education to Aesthetics and Criticism in a national
context. For further information,write or call: Les Manningv
Conference Chairman, The Banff Centre School of Fine Arts, P.o. Box 1020, Banff, Alberta, TOL OCO.
Northern Alberta Woodcrafters Guild is holding a display and sale of their works at Northtown Mall. Edmontonon December 2, 3, 4, 1983.
23
Call for Entry
Cameo's Canadian Craft Sale, June 14 to 18, 1984. Edmonton Convention Centre. Juried. Deadline for ap-
plication — December 4, 1983.Contact: Eleanor Bercov, 13803 - 91 Ave., Edmonton, T5R 4X8 (484-0736).
Call for EntryShows, Calgary Show, Western Works/TheSpring
16-20, 1983. May 9-13, 1983. EdmontonShow, May 1983. Juried. Deadline for application—-January 31, 17 Ave. S.W., Contact: Bonnie Murdock 2711 Calgary, T3E OA6(242-1169).
Thankyou to all Gift Program Volunteers!
Jerry Royer
Karen Cantine
Kim Davis
Jim Speers
Gail Price Douglas
Cathy Aitken Tom Tombs Wendy Liimatainen Sharon Neuman Richard Selfridge
Peggy Heer
Carol Marshall Laurie Meyers John McGee
Bonnie Balenko
Brenda Malkinson
ALBERTA CRAFTS COUNCIL
10645 - 63 Avenue
Edmonton,T6H IP6
Colin Schleeh Alice Cantine
Duncan Currie
Kirk Marlow
Margaret Bigelow
Gene Rubin Bob Robertson Uta Preuss
Beverly Brown Susanne Balslov
Tricia Stevenson Ian Medland Helen Collinson Anne Lambert John Chalke
Canada Poote• Post
Bulk En nombre third troisiéme
class classe 4241
EDMONTON