Booking Catalogue September 2013 – August 2014 - Art Gallery of ...
Booking Catalogue September 2013 – August 2014 - Art Gallery of ...
Booking Catalogue September 2013 – August 2014 - Art Gallery of ...
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The Alberta Foundation for the <strong>Art</strong>s<br />
Travelling Exhibition Program<br />
Region 2: <strong>Art</strong> <strong>Gallery</strong> <strong>of</strong> Alberta<br />
<strong>Booking</strong> <strong>Catalogue</strong><br />
<strong>September</strong> <strong>2013</strong> – <strong>August</strong> <strong>2014</strong><br />
youraga.ca
REGION 2: Northcentral and Northeast Alberta<br />
(<strong>Art</strong> <strong>Gallery</strong> <strong>of</strong> Alberta)<br />
Participating Communities 2000-<strong>2013</strong><br />
Alberta Beach<br />
Alder Flats<br />
Alix<br />
Andrew<br />
Ardmore<br />
Ardrossan<br />
Anzac<br />
Atikameg<br />
Athabasca<br />
Barrhead<br />
Battle River<br />
Beaumont<br />
Bonnyville<br />
Buck Lake<br />
Busby<br />
Calmar<br />
Camrose<br />
Caslin<br />
Cold Lake<br />
Darwell<br />
Devon<br />
Donalda<br />
Dewberry<br />
Drayton Valley<br />
Duffield<br />
Edberg<br />
Edmonton<br />
Edson<br />
Falun<br />
Fishing Lake<br />
Forestburg<br />
Fort<br />
Saskatchewan<br />
Fort McMurray<br />
Fox Creek<br />
Frog Lake<br />
Gift Lake<br />
Glendon<br />
Hardisty<br />
Hobbema<br />
Holden<br />
Killam<br />
Kitscoty<br />
Lacombe<br />
Lac La Biche<br />
Leduc<br />
Lloydminster<br />
Mayerthorpe<br />
Millet<br />
Morinville<br />
Mundare<br />
Namao<br />
New Sarepta<br />
Niton Junction<br />
Onoway<br />
Plamondon<br />
Ponoka<br />
Redwater<br />
Rimbey<br />
Seba Beach<br />
Sedgewick<br />
Sherwood Park<br />
Slave Lake<br />
Spruce Grove<br />
St Albert<br />
St Paul<br />
Stony Plain<br />
Strome<br />
Thorhild<br />
Thorsby<br />
T<strong>of</strong>ield<br />
Two Hills<br />
Vegreville<br />
Vermilion<br />
Viking<br />
Wabamun<br />
Wainwright<br />
Wandering River<br />
Wetaskiwin<br />
Whitecourt<br />
26 exhibitions were available for booking during 2012/<strong>2013</strong> and were organized by:<br />
The <strong>Art</strong> <strong>Gallery</strong> <strong>of</strong> Grande Prairie<br />
Capturing Momentum<br />
Eric Cameron: A Conceptual Approach<br />
100 Dresses for Alberta<br />
Liberation from Natural Forms<br />
Evy and Betty<br />
Kim Huyn: The Burden <strong>of</strong> 4000 Pearls<br />
<strong>Art</strong> <strong>Gallery</strong> <strong>of</strong> Alberta<br />
Abstract Thinking<br />
Wild Thing<br />
Creator Paints the World...<br />
...The Colour <strong>of</strong> Our Voice<br />
La Vie Fantastique<br />
A Bird in the Hand<br />
Culture Crates<br />
‘Our Wilderness is Wisdom’<br />
MaskwacÎs (Bear Hills)<br />
Down on the Farm<br />
A Room with a View<br />
Urban Animals<br />
Alberta Society <strong>of</strong> <strong>Art</strong>ists<br />
Centrefold: The <strong>Art</strong> <strong>of</strong> Susanne Swibold<br />
Full Circle: Meeting Point <strong>Art</strong>ists<br />
Association<br />
Offspring: The Lindo Legacy<br />
Destination Red Deer<br />
Pretty Much Black and White<br />
Animated Delight<br />
Esplanade <strong>Art</strong>s & Heritage Centre<br />
Stewart Cameron: Cartoonist<br />
25 (TREX 25th Anniversary)<br />
Intangible Cultural Assets<br />
Cover Images:<br />
Top Left: Derek Rodgers, Stars and Stripes, 1983, Mixed media on illustration board, Collection <strong>of</strong> the Alberta Foundation for the <strong>Art</strong>s, Exhibition: Wild Thing!<br />
Bottom Left: Vera Greenwood, An Alberta Rat, 1990, Acrylic, china marker on plywood, Collection <strong>of</strong> the Alberta Foundation for the <strong>Art</strong>s, Exhibition: Storytellers<br />
Top Right: Steven Dixon, Gas Plant No. 4, <strong>2013</strong>, Inkjet print on paper, Collection <strong>of</strong> the artist, Exhibition: Black Gold<br />
Bottom Right: Lynn Malin, Crested Hill (at Emma Lake), 1985, Acrylic on paper, Collection <strong>of</strong> the artist, Exhibition: Out <strong>of</strong> Bounds The <strong>Art</strong> <strong>of</strong> Lynn Malin
The <strong>Art</strong> <strong>Gallery</strong> <strong>of</strong> Alberta is a centre <strong>of</strong> excellence for the visual arts<br />
in Western Canada, connecting people, art and ideas. The AGA is<br />
focused on the development and presentation <strong>of</strong> original exhibitions<br />
<strong>of</strong> contemporary and historical art from Alberta, Canada and around<br />
the world. Founded in 1924, the <strong>Art</strong> <strong>Gallery</strong> <strong>of</strong> Alberta maintains<br />
a collection <strong>of</strong> more than 6,000 objects and is the oldest cultural<br />
institution in Alberta. It is the only museum in the province solely<br />
dedicated to the exhibition and preservation <strong>of</strong> art and visual culture.<br />
The AGA recently underwent a major re-building project. Designed<br />
by Los Angeles architect Randall Stout, the 85,000 sq foot (7,900 sq<br />
metres) new AGA opened to the public on January 31, 2010.<br />
TREX <strong>Booking</strong> <strong>Catalogue</strong><br />
The <strong>Art</strong> <strong>Gallery</strong> <strong>of</strong> Alberta is pleased to present this selection <strong>of</strong> travelling exhibitions for the <strong>2013</strong>-<strong>2014</strong> season.<br />
Currently the <strong>Art</strong> <strong>Gallery</strong> <strong>of</strong> Alberta serves over 70 venues in over 40 communities. Exhibitions on tour from the <strong>Art</strong><br />
<strong>Gallery</strong> <strong>of</strong> Alberta will easily adapt to the space requirements <strong>of</strong> smaller venues: schools, libraries, museums, health<br />
care centres and other community facilities. The exhibitions are organized in such a manner as to make unpacking,<br />
packing, hanging and shipping as easy as possible. An educational Interpretive Guide is developed for each show.<br />
These materials enable teachers to use the exhibition within the school curriculum. The Interpretive Guides can be<br />
kept by each venue for further reference and are also available on the AGA website. Along with the exhibition, each<br />
venue receives an evaluation package which must be completed at the close <strong>of</strong> the exhibition and returned to the <strong>Art</strong><br />
<strong>Gallery</strong> <strong>of</strong> Alberta.<br />
Venue Cost: $75 (plus GST) per exhibition booking. Freight is arranged for and paid by the <strong>Art</strong> <strong>Gallery</strong> <strong>of</strong> Alberta.<br />
During the month <strong>of</strong> the booking the venue contact will receive information regarding shipping arrangements.<br />
<strong>Booking</strong> invoices for each exhibition are issued close to the beginning <strong>of</strong> each month.<br />
The Alberta Foundation for the <strong>Art</strong>s Collection is the primary source <strong>of</strong> works featured in the travelling exhibitions.<br />
Other sources for exhibitions include community partners, archives, private collections and loans from artists. Each<br />
year we welcome new venues to enrich their community art through the Alberta Foundation for the <strong>Art</strong>s Travelling<br />
Exhibition Program. Please look through this year’s selection <strong>of</strong> exhibitions to plan an exciting visual experience for<br />
your facility. A booking form is included on the back cover <strong>of</strong> the catalogue to enable you to request exhibitions by<br />
fax or mail.<br />
Venue Obligations:<br />
provide a protected & monitored display area<br />
install & dismantle exhibitions safely & efficiently<br />
ensure shipping is done in a timely fashion using directives & complete ALL<br />
necessary forms related to shipping and evaluation <strong>of</strong> the program<br />
communicate and enjoy!<br />
TREX Contact<br />
Shane Golby, Manager/Curator, AFA Travelling Exhibition Program-Region 2<br />
10550-107 Street, Edmonton, AB T5H 2Y6<br />
Phone: 780.428.3830 | Fax: 780.421.0479 | e-mail: shane.golby@youraga.ca
Out <strong>of</strong> Bounds The <strong>Art</strong> <strong>of</strong> Lynn Malin | Available <strong>September</strong> <strong>2013</strong> to <strong>August</strong> <strong>2014</strong><br />
Although she would not describe herself as such Lynn Malin, both as a<br />
woman and as an artist, is a bit <strong>of</strong> a rebel. Throughout her life she has<br />
consistently stepped ‘out <strong>of</strong> bounds’ and gone beyond expectations.<br />
The result has been a life and art career full <strong>of</strong> surprise and evocative<br />
exploration.<br />
Lynn Malin<br />
Primary Still, n.d.<br />
Acrylic on board<br />
Collection <strong>of</strong> the artist<br />
Exhibition Information<br />
20 art works<br />
4 text panels<br />
1 artist<br />
75 running feet<br />
2 medium crates<br />
Lynn Malin describes herself primarily as a landscape artist. Being a<br />
‘prairie girl’, she loves the natural world and views her work as a means<br />
to process what she sees. Unlike many artists, however, she is not<br />
bound by any one artistic genre or mode <strong>of</strong> expression. Throughout her<br />
career she has explored not only landscape painting but also still-life<br />
works and sculpture, and has rendered her subjects ‘realistically’, with<br />
impressionistic flair, abstractly, and sometimes with a dose <strong>of</strong> whimsy.<br />
For Malin the intrigue <strong>of</strong> discovery and experimentation is what makes<br />
art so fascinating and for over thirty years her overall artistic aim has<br />
been to move, to learn, to change, and to grow.<br />
The exhibition Out <strong>of</strong> Bounds The <strong>Art</strong> <strong>of</strong> Lynn Malin provides a survey <strong>of</strong><br />
the artistic career <strong>of</strong> Lynn Malin, one <strong>of</strong> Edmonton’s most exuberant<br />
artists. Through the artworks presented the viewer is taken into the<br />
mind, heart and soul <strong>of</strong> a working artist, encountering the wonder that<br />
can be realized when one takes the risk and has the courage to go ‘out<br />
<strong>of</strong> bounds’.<br />
The exhibition Out <strong>of</strong> Bounds The <strong>Art</strong> <strong>of</strong> Lynn Malin was curated by Shane Golby, <strong>Art</strong> <strong>Gallery</strong><br />
<strong>of</strong> Alberta, for the Alberta Foundation for the <strong>Art</strong>s Travelling Exhibition Program.<br />
Black Gold | Available <strong>September</strong> <strong>2013</strong> to <strong>August</strong> <strong>2014</strong><br />
Judith E. Hall<br />
Near Hartell, 1992<br />
Acrylic on canvas<br />
Collection <strong>of</strong> the artist<br />
Exhibition Information<br />
19 art works<br />
5 text panels<br />
6 artists<br />
100 running feet<br />
3 medium crates<br />
The history <strong>of</strong> Alberta, whether political, economic, or social, is a<br />
narrative intimately connected to its natural resources. Throughout the<br />
20th and into the 21st century this history has largely been<br />
written by the search for and development <strong>of</strong> the province’s oil<br />
resources. Inspired by the centenary <strong>of</strong> the Turner Valley oil and gas<br />
discoveries <strong>of</strong> 1913/1914 the exhibition Black Gold traces the<br />
development <strong>of</strong> the oil industry in Alberta from its infancy in Turner<br />
Valley through to the ongoing development <strong>of</strong> the Athabasca Oil Sands.<br />
Featuring the art work <strong>of</strong> contemporary artists whose creative<br />
expressions have been engaged by the petroleum industry in Alberta,<br />
this exhibition encourages the viewer to consider the history and<br />
importance <strong>of</strong>, and challenges presented by, this industry. The art works<br />
and educational materials which accompany this exhibition examine<br />
some <strong>of</strong> the impacts the oil industry has had on the development <strong>of</strong> the<br />
province and how the extraction and processing <strong>of</strong> oil resources has<br />
affected, and continues to affect, the lives <strong>of</strong> Albertans.<br />
The exhibition Black Gold features the work <strong>of</strong> artists Paul Bernhardt,<br />
Bruno Canadien, Steven Dixon, Judith E. Hall, Leya Russell and Justin<br />
Wayne Shaw. Through their works these artists present their<br />
perceptions <strong>of</strong> the oil industry, inviting reflection on the diverse and<br />
complex environmental and social issues associated with the extraction<br />
and use <strong>of</strong> ‘black gold.’<br />
The exhibition Black Gold was curated by Shane Golby, <strong>Art</strong> <strong>Gallery</strong> <strong>of</strong> Alberta, for the Alberta<br />
Foundation for the <strong>Art</strong>s Travelling Exhibition Program.
Storytellers | Available <strong>September</strong> <strong>2013</strong> to <strong>August</strong> <strong>2014</strong><br />
Who doesn’t love a good story? Our entire lives are bound by the relating<br />
<strong>of</strong> events: what happened? where did it happen? how did it happen? who<br />
did it happen to? how did it end? These are the questions, and it is the<br />
answers to these questions, that teach us; that guide our relationships<br />
with others; and that form the memories we either cherish…or that<br />
haunt us to the end <strong>of</strong> our days.<br />
Mark Hobden<br />
Untitled, Old Folks Home Series, n.d.<br />
Silver gelatin on paper<br />
Collection <strong>of</strong> the Alberta Foundation for the <strong>Art</strong>s<br />
Exhibition Information<br />
20 art works<br />
2 text panels<br />
19 artists<br />
75 running feet<br />
2 medium crates<br />
Storytelling is found in all human cultures and the relating <strong>of</strong> stories<br />
visually is called Narrative <strong>Art</strong>. In such art work stories can be told either<br />
as a moment in an ongoing story or as a sequence <strong>of</strong> events unfolding<br />
over time. Until the late 19th century much <strong>of</strong> Western art was<br />
narrative in nature, depicting stories from religion, myth, legend, history<br />
and literature. Such works may depict grand or important events or<br />
ideas, expressed through the genre <strong>of</strong> History Paintings, or be concerned<br />
with humble scenes or events from everyday life, articulated in Genre<br />
Scenes. Whatever the form <strong>of</strong> expression such representations contain<br />
the literary elements <strong>of</strong> setting, character, and narrative point <strong>of</strong> view.<br />
Most importantly, however, to be considered an actual story or involve<br />
narrative a visual art work must possess one crucial element: it must<br />
either imply or actually portray action.<br />
Drawn from the collection <strong>of</strong> the Alberta Foundation for the <strong>Art</strong>s, the<br />
art works in this exhibition investigate the narratives related by artists<br />
as well as the types <strong>of</strong> stories told and the various ways they have been<br />
presented in a visual manner.<br />
The exhibition Storytellers was curated by Shane Golby, <strong>Art</strong> <strong>Gallery</strong> <strong>of</strong> Alberta, for the Alberta<br />
Foundation for the <strong>Art</strong>s Travelling Exhibition Program.<br />
Wild Thing! | Available October <strong>2013</strong> to February <strong>2014</strong><br />
If your venue missed it before, now is your chance to go WILD as Wild Thing! is<br />
returning to TREX Region 2 for a limited engagement!<br />
Since the dawn <strong>of</strong> human history animal imagery has been part <strong>of</strong><br />
humankinds’ cultural repertoire. Whether created as expressions <strong>of</strong><br />
‘sympathetic magic’, for spiritual and symbolic purposes, as romantic<br />
expressions <strong>of</strong> man’s relationship to nature, or simply in appreciation<br />
and awe <strong>of</strong> the wild, visual representations <strong>of</strong> wild animals have featured<br />
in the records <strong>of</strong> all cultures on every continent throughout time.<br />
Illingworth Kerr<br />
Untitled - Mountain Goats, n.d.<br />
Pastel on paper<br />
Collection <strong>of</strong> the Alberta Foundation for the <strong>Art</strong>s<br />
Exhibition Information<br />
19 art works<br />
2 text panels<br />
13 artists<br />
75 running feet<br />
2 medium crates<br />
Like all genres <strong>of</strong> artistic examination the visual renderings <strong>of</strong> animals<br />
reflects the various artistic styles practiced by artists. From realistic<br />
representations to abstract impressions, the artists in the exhibition Wild<br />
Thing! have pursued the ‘wild things’ <strong>of</strong> Alberta and beyond, capturing<br />
them in a variety <strong>of</strong> manners, with a diversity <strong>of</strong> materials, and for a<br />
multitude <strong>of</strong> reasons.<br />
The exhibition Wild Thing!, featuring art works from the collection <strong>of</strong> the<br />
Alberta Foundation for the <strong>Art</strong>s, investigates this pursuit and celebrates<br />
the beauty <strong>of</strong> ‘wild things’ and the important place they hold within the<br />
world and the consciousness <strong>of</strong> humankind.<br />
The exhibition Wild Thing! was curated by Shane Golby, <strong>Art</strong> <strong>Gallery</strong> <strong>of</strong> Alberta, for the Alberta<br />
Foundation for the <strong>Art</strong>s Travelling Exhibition Program.
Path Makers | Available January <strong>2014</strong> to December <strong>2014</strong><br />
Contemporary First Nations artists are now recognized as a significant<br />
and a distinct part in the fabric <strong>of</strong> Canadian art history. But it wasn’t<br />
always that way. To find way, Aboriginal artists supported each other.<br />
They pushed for the inclusion <strong>of</strong> Aboriginal art in exhibitions, in galleries,<br />
in collections and they advocated for the highest level <strong>of</strong> art education<br />
for First Nations people. This exhibition honors four fine role models<br />
who have passed on to the other side; Dale Auger, Joane Cardinal-<br />
Schubert, Brenda Jones and Kimowan Metchewais.<br />
Joane Cardinal-Schubert<br />
Untitled, n.d.<br />
Mixed media<br />
Private Collection<br />
Exhibition Information<br />
20 art works<br />
2 text panels<br />
4 artists<br />
75 running feet<br />
2 medium crates<br />
Aboriginal artists are acutely aware <strong>of</strong> the lineage in Aboriginal <strong>Art</strong><br />
History. The relationships are like family. Aboriginal artists are like<br />
grandparents, aunties and uncles and cousins to other Aboriginal artists,<br />
even if they never met. Dale, Joane, Brenda and Kimowan created<br />
relationships and pathways for many future First Nations artists. They<br />
inspire us with the artwork they left behind, the lives they shared and,<br />
most importantly, the inspiration to create.<br />
Tanya Harnett<br />
The exhibition Path Makers was curated by Tanya Harnett for the Alberta Foundation for the<br />
<strong>Art</strong>s Travelling Exhibition Program and was generously funded by Syncrude Canada Ltd.<br />
Our Wilderness is Wisdom | Available July <strong>2014</strong> to December <strong>2014</strong><br />
If you know wilderness in the way that you know love you would be unwell<br />
to let it go....This is the story <strong>of</strong> our past and it will be the story <strong>of</strong> our future.<br />
...to be whole, to be complete. Wilderness reminds us what it means to be<br />
human, what we are connected to rather than what we are separate from.<br />
Terry Tempest Williams<br />
Writer, Activist, Environmentalist<br />
Alex Janvier<br />
Spot Light, 2005<br />
Oil on canvas<br />
Collection <strong>of</strong> the artist<br />
Exhibition Information<br />
18 art works<br />
2 text panels<br />
3 artists<br />
2 medium crates<br />
75 running feet<br />
When trying to draw a line from artist to artist the subject matter is the<br />
relationship they share. The artists in this exhibition tell a story using<br />
contrasting mediums to carry a message unique to them. Our ancestors<br />
used metaphors in storytelling for everything including lessons to teach<br />
children how to hunt, sew and live. The simple life they led was reliant<br />
on the land they lived in and respected through prayer to the Great Spirit<br />
or Creator. What is unique for us to remember <strong>of</strong> this existence and ever<br />
flowing change <strong>of</strong> our society is that we need to return to our roots. The<br />
artists in the exhibition Our wilderness is wisdom... examine their own<br />
lives and their canvases are like the soles <strong>of</strong> their moccasins: the land<br />
underneath them is what they understand. Through their paintings they<br />
become many voices telling stories <strong>of</strong> the past, present and future.<br />
The exhibition Our wilderness is wisdom... features the work <strong>of</strong> First<br />
Nations artists Tanya Harnett, Alex Janvier and Curtis Johnson.<br />
The exhibition Our Wilderness is Wisdom... was curated by Heather Shillinglaw for the Alberta<br />
Foundation for the <strong>Art</strong>s Travelling Exhibition Program. This exhibition was generously funded by<br />
Syncrude Canada Ltd.
Trace: Reflections on Landscape | Available <strong>September</strong> <strong>2013</strong> to February <strong>2014</strong><br />
A trace is a mark left by the passage <strong>of</strong> a person, animal or thing on the<br />
physical environment. Often it is barely perceivable and temporary,<br />
soon being removed by time and nature. Sometimes it persists for<br />
longer, permanently altering the landscape. This exhibition is an attempt<br />
to record, or make visible, that trace for posterity and to comment upon<br />
the impact that humanity has on the environment.<br />
Colin Smith<br />
St. Henry, 2010<br />
Lightjet print<br />
Courtesy <strong>of</strong> the artist<br />
Exhibition Information<br />
3 artists<br />
12 framed art works<br />
50 running feet<br />
2 crates<br />
Trace: Reflections on Landscape features the art <strong>of</strong> Eveline Kolijn, Leslie<br />
Sweder and Colin Smith. Eveline Kolijn is a versatile printmaker who<br />
references the effects <strong>of</strong> mechanization and industrialization upon<br />
the landscape <strong>of</strong> northern Alberta and elsewhere. She is also keenly<br />
interested in the underlying patterns and processes <strong>of</strong> nature. Leslie<br />
Sweder uses improvisational drawing to translate urban commotion<br />
based on auditory and visual sensations into beautiful and whimsical<br />
line drawings. Colin Smith makes luxurious photographs using a<br />
camera obscura technique. The dilapidated structures in his Abandoned<br />
Landscape series eloquently address the passage <strong>of</strong> time and traces<br />
<strong>of</strong> human activity consumed by nature. Each artist seems to share<br />
an interest in recording or commenting on a human footprint within<br />
specific landscapes.<br />
This exhibition is curated by Caroline Loewen and Les Pinter, Alberta Society <strong>of</strong> <strong>Art</strong>ists<br />
Portraiture | Available <strong>September</strong> <strong>2013</strong> to February <strong>2014</strong><br />
While the aim <strong>of</strong> portraiture has always been to show the inner essence<br />
<strong>of</strong> the sitter, its methods have changed over the years. This exhibition<br />
will attempt to show the different styles <strong>of</strong> portraiture and the different<br />
ways artists have attempted to most truthfully capture their subjects.<br />
From James Nicoll’s traditional representation <strong>of</strong> his wife Marion to<br />
Stanford Perrott’s fractured and abstracted views <strong>of</strong> the human body,<br />
this exhibition explores the changing art <strong>of</strong> portraiture.<br />
<strong>Art</strong>ists included in this exhibition are Debra Bachman Smith, Maxwell<br />
Bates, Lisa Brawn, Allyson Glenn, Roy Kiyooka, Steven Mack, Helen<br />
Mackie, RFM McInnis, Margaret Mooney, James Nicoll, Marion Nicoll,<br />
Erik Olson, Stanford Perrott, Aaron Sidorenko, John Snow and William<br />
Stevenson.<br />
Erik Olson<br />
Preston, 2009<br />
Oil on canvas<br />
Collection <strong>of</strong> the Alberta Foundation for the <strong>Art</strong>s<br />
This exhibition is curated by Caroline Loewen, Alberta Society <strong>of</strong> <strong>Art</strong>ists, from the collection<br />
<strong>of</strong> the Alberta Foundation <strong>of</strong> the <strong>Art</strong>s<br />
Exhibition Information<br />
16 artists<br />
18 framed art works<br />
60 running feet<br />
2 crates
Ether and Procession: Peter von Tiesenhausen<br />
Available <strong>September</strong> <strong>2013</strong> to February <strong>2014</strong><br />
By definition Ether is the fifth element after air, earth, fire and water and<br />
was believed to be the substance composing all heavenly bodies and was<br />
derived from the Latin aether or the Greek aither and means to burn or to<br />
shine. Procession by definition is the act <strong>of</strong> moving along or forward in<br />
progression; to emanate or rise.<br />
Alberta artist Peter von Tiesenhausen has a fierce connection to the<br />
land. That connection is present in all <strong>of</strong> his work, whether it’s painting,<br />
mixed media, an installation or a sculpture made <strong>of</strong> willow branches,<br />
granite, bronze or wood. Peter von Tiesenhausen uses any medium to<br />
communicate.<br />
Peter von Tiesenhausen<br />
Icarus IV from the Ether Series, 2002<br />
Aluminum Foil, Chine-colle photo etching<br />
Collection <strong>of</strong> the Alberta Foundation for the <strong>Art</strong>s<br />
Exhibition Information<br />
1 artist<br />
16 framed art works<br />
2 didactic panels<br />
2 crates<br />
Much <strong>of</strong> his work deals with transformation and transience. His art is about<br />
speaking a certain language and having each one <strong>of</strong> his works just be a part<br />
<strong>of</strong> a continuing dialogue. The land is the canvas, the trees, the lay <strong>of</strong> the<br />
land everything is part <strong>of</strong> his artwork. Documenting the process, whether it<br />
is by printmaking, or sculpture as in the Ether and Procession series, <strong>of</strong>fers a<br />
means to get the point across. For Peter von Tiesenhausen all living things<br />
come from the earth and he uses all <strong>of</strong> the materials to make all <strong>of</strong> the<br />
elements that communicate his connection to the land.<br />
This exhibition includes works from the series Ether and Procession that are<br />
made up <strong>of</strong> etchings and aluminum foil, chine colle, photo etching prints<br />
and small bronze sculptures.<br />
This exhibition is curated by Todd Schaber, <strong>Art</strong> <strong>Gallery</strong> <strong>of</strong> Grande Prairie<br />
Memory Images | Available March <strong>2014</strong> to <strong>August</strong> <strong>2014</strong><br />
This exhibition focuses on the uneasy relationship between photography<br />
and memory, and addresses whether or not photography can act as an<br />
aid or a hindrance to memory. It explores themes <strong>of</strong> memory-images,<br />
collective memory and the relationship between space, time and memory<br />
and features the work <strong>of</strong> photographers Dianne Bos, Mark Florian and Sarah<br />
Fuller.<br />
Dianne Bos<br />
Chateau de Gudanes, 2004<br />
Silver gelatin print<br />
Courtesy <strong>of</strong> the artist<br />
Exhibition Information<br />
3 artists<br />
15 framed art works<br />
50 running feet<br />
2 crates<br />
The photographs included use different layering techniques, long or<br />
multiple exposures to attempt to capture a scene. These methods and the<br />
resulting images reference the layering <strong>of</strong> memories over time as well as<br />
the loss <strong>of</strong> memory over time and the indistinct nature <strong>of</strong> visual memories.<br />
Another major theme is memory and space. The images explore how<br />
a specific space can be imbued with the feelings associated with past<br />
experiences, and whether there is a physical significance to a sacred or<br />
remembered space.<br />
Memory Images encourages us to reflect on our own practices <strong>of</strong> memory<br />
making and our use <strong>of</strong> images in our daily lives.<br />
This exhibition is curated by Caroline Loewen, Alberta Society <strong>of</strong> <strong>Art</strong>ists
In the Land <strong>of</strong> Magic Realism: Etchings by Garry Newton<br />
Available March <strong>2014</strong> to <strong>August</strong> <strong>2014</strong><br />
Garry Newton is known for his intricate etchings <strong>of</strong> exquisite plants,<br />
birds and their environments. The laborious process <strong>of</strong> etching a design<br />
from a copper plate has changed little since the 18th century but<br />
Newton’s exacting standards <strong>of</strong> botanical accuracy combined with his<br />
evidently pr<strong>of</strong>ound engagement with nature infuse the painstakinglywrought<br />
works with fresh enchantment.<br />
Garry Newton<br />
Year <strong>of</strong> the Comet, 1981<br />
Etching<br />
Collection <strong>of</strong> the Esplanade <strong>Art</strong>s and Heritage Centre<br />
Exhibition Information<br />
15 art works<br />
1 artist<br />
45 running feet<br />
2 crates<br />
A copy <strong>of</strong> the book, Bon à tirer: Garry Newton, is included<br />
in each interpretive package for host venues<br />
Collection <strong>of</strong> the Esplanade <strong>Art</strong>s and Heritage Centre<br />
This exhibition features a body <strong>of</strong> Newton’s work inspired by the novel,<br />
Autumn <strong>of</strong> the Patriarch, written in 1975 by Gabriel García Márquez. The<br />
pieces, Newton once explained, “present certain themes from the book<br />
in a two-dimensional, flat quality, almost as though they were staged<br />
scenery. No foreground, no background, just a middle ground… They’re<br />
not illustrations per se from the book but they attempt to capture the<br />
mood and the atmosphere and some <strong>of</strong> the events that occurred in the<br />
novel.”<br />
Newton was born in York, England, in 1939 and his family moved to<br />
Medicine Hat, Alberta, in 1948. He studied science at the University <strong>of</strong><br />
Melbourne, Australia, and at the University <strong>of</strong> Alberta where he received<br />
a bachelor’s degree in zoology. As a young man, he travelled extensively<br />
through Europe and the United States before returning to Medicine Hat<br />
to pursue a full-time artistic practice. Garry Newton passed away in<br />
Medicine Hat in 2008.<br />
Curator Xanthe Isbister, Esplanade <strong>Art</strong>s and Heritage Centre, for the Alberta Foundation<br />
for the <strong>Art</strong>s Travelling Exhibition Program<br />
Memories <strong>of</strong> the Farm: Watercolour Paintings by Hazel Litzgus<br />
Available March <strong>2014</strong> to <strong>August</strong> <strong>2014</strong><br />
Imagine growing up on a farm in a small community during the 1930s.<br />
Ceramic crocks from Medalta Potteries were used in every household,<br />
food was kept cold in the ground and families ate only what the farm<br />
could produce. It was a time <strong>of</strong> canning, milking, sleigh rides in the<br />
snow and chopping wood for piles that always needed stocking.<br />
Hazel Litzgus<br />
The Cat’s Funeral, 2010<br />
Watercolour on paper<br />
Collection <strong>of</strong> Alberta Foundation for the <strong>Art</strong>s<br />
Exhibition Information<br />
14 art works<br />
1 artist<br />
50 running feet<br />
2 crates<br />
Now celebrated among leaders <strong>of</strong> the Canadian folk art genre, Hazel<br />
Litzgus has always painted. The youngest <strong>of</strong> four children who lived<br />
on a family farm in Lloydminster, Alberta, she drew on precious pieces<br />
<strong>of</strong> paper her mother saved especially for her. Today, she constructs<br />
paintings from memory to capture a way <strong>of</strong> life that is lost to most.<br />
Each detailed watercolor begins with a sketch which was inspired by the<br />
retelling <strong>of</strong> a handwritten story.<br />
“When our daughter was born, I wanted to make a record for her <strong>of</strong> the<br />
childhood that shaped me,” says Litzgus. “I wanted her to see that small,<br />
simple, plain farm and love it as I did.”<br />
Hazel Litzgus now has a home and studio in Calgary.<br />
A copy <strong>of</strong> the book, Where the Meadowlark Sang, is included in<br />
each interpretive package for host venues<br />
Curator Xanthe Isbister, Esplanade <strong>Art</strong>s and Heritage Centre, for the Alberta Foundation for<br />
the <strong>Art</strong>s Travelling Exhibition Program. Collection <strong>of</strong> the Alberta Foundation for the <strong>Art</strong>s.
Selected Comments on AGA TREX Exhibitions from the 2012/<strong>2013</strong> Season:<br />
Red Brick <strong>Art</strong>s Centre (Edson) - Linda Wright re: Our Wilderness is Wisdom<br />
The Interpretive Kit was excellent and useful to our venue. At times our aboriginal visitors became quite emotional. The AFA<br />
Travelling Exhibition Program has been fantastic - great shows that are accessible to lots <strong>of</strong> small venues.<br />
Selected comments from exhibition visitors:<br />
- Absolutely lovely!<br />
- Awesome<br />
- Preservation <strong>of</strong> the land and that it is the responsibility <strong>of</strong> us all - I thank these artists for their insights<br />
- Awesome collection. Excited to see Janvier!<br />
- It tells me (the art) how crucial it is to take care <strong>of</strong> Mother Earth and our precious water - thank you<br />
- Excellent expression<br />
Onoway Elementary School (Onoway) - Lori Bell re: A Room with a View<br />
The booking procedure was very efficient and both the <strong>Booking</strong> <strong>Catalogue</strong> and Interpretive Kit were Excellent. Teachers<br />
appreciated the activities and curriculum links and the exhibition provided an opportunity for students to experience a<br />
variety <strong>of</strong> art. For many this was a first time experience. This was our first time and we look forward to more in the future.<br />
Seamless!<br />
Onoway Public Library (Onoway) - Kelly Huxley re: Maskwacis (Bear Hills)<br />
Selected comments from exhibition visitors:<br />
- Brilliant, gifted and inspiring art. Thank you so much for sharing your beauty and knowledge!<br />
- Thankyou! Gives a completely different way <strong>of</strong> seeing Hobbema - traditional arts, yes, but also a much broader (younger?)<br />
perspective<br />
- Thankyou for sharing your art and talent with me. Thanks for the display! Love the bead work!<br />
Grasmere School (Alberta Beach) - Amy Ouderkirk re: A Room with a View<br />
The <strong>Booking</strong> <strong>Catalogue</strong> and Interpretive Kit were both excellent. We used the suggested activities and students enjoyed<br />
the scavenger hunt. Students and staff loved how each piece was so different. The AFA Travelling Exhibition Program is<br />
Excellent! Thank you.<br />
Barrhead Public Library (Barrhead) - Elaine Dickie re: Down on the Farm<br />
The <strong>Booking</strong> <strong>Catalogue</strong> and Interpretive Kit were both excellent. We used the education component for elementary school<br />
students browsing the exhibit and gave the website information to members <strong>of</strong> the Barrhead Photography Club. In our rural<br />
community this exhibit was ‘close to home’, and enjoyed by all ages. This exhibition received high praise from the many folks<br />
that viewed it. The three photographers each had very distinct styles and one cannot help but compare and contrast their<br />
styles and their subjects: a most delicious experience. The Visiting <strong>Art</strong>ist Program presentation given by Dawn Saunders<br />
Dahl was Excellent. Dawn was great with the class, the participants were pushed out <strong>of</strong> their painting comfort zone, taught<br />
a new technique and the results <strong>of</strong> the workshop were amazing....<br />
Ardmore School (Ardmore) - Evelyn Bourbeau re: La Vie Fantastique<br />
The Interpretive Kit was useful to our venue. We used the Reading Pictures program and the Visual Learning worksheet. The<br />
exhibition was well received by visitors. Some felt it was ‘dark’ but it made them think!! Both the <strong>Booking</strong> <strong>Catalogue</strong> and<br />
the Interpretive Kit were excellent and the AFA Travelling Exhibition Program is also excellent - a 10+<br />
Selected comments from exhibition visitors:<br />
- Very different. Relatable. Fun and creepy (no <strong>of</strong>fense)<br />
- Unique and beautiful<br />
- Creative! Some are dark and gloomy...but cool!<br />
H.E. Bourgoin Middle School (Bonnyville) - Cheryl Edwards re: Urban Animals<br />
The curator statement and artist bio were very useful and we loved this exhibition! Very colorful, happy, simple, enjoyable....<br />
The AFA Travelling Exhibition Program is excellent.
A View <strong>of</strong> AGA TREX Exhibitions for <strong>2013</strong>/<strong>2014</strong>:<br />
Gerry Dotto<br />
Speak <strong>of</strong> the Kettle, 2012<br />
Digital print on paper<br />
Collection <strong>of</strong> the Alberta Foundation for the <strong>Art</strong>s<br />
Exhibition: Storytellers<br />
Justin Wayne Shaw<br />
Highway, 2011<br />
Digital photographic montage<br />
Collection <strong>of</strong> the artist<br />
Exhibition: Black Gold<br />
Lynn Malin<br />
Fire #4, 2012<br />
Oil, graphite and pastel on lexan on plexi<br />
Collection <strong>of</strong> the artist<br />
Exhibition: Out <strong>of</strong> Bounds The <strong>Art</strong> <strong>of</strong> Lynn Malin<br />
Our thanks to the many individuals, organizations<br />
and communities who have contributed to the<br />
success <strong>of</strong> the Alberta Foundation for the <strong>Art</strong>s<br />
Travelling Exhibition Program.
The Alberta Foundation for the <strong>Art</strong>s<br />
Travelling Exhibition Program<br />
<strong>Booking</strong> Request Form<br />
Please complete this form and send it to<br />
Shane Golby, Program Manager/Curator<br />
Fax : 780-421-0479 Phone: 780-428-3830<br />
Email: shane.golby@youraga.ca<br />
Mail: 10550-107 Street, Edmonton, AB T5H 2Y6<br />
Venue Requesting Exhibition<br />
Contact Person<br />
Mailing Address<br />
Shipping Address<br />
Phone<br />
Ext<br />
Fax<br />
Email<br />
<strong>Booking</strong> Details<br />
Exhibition Title Preferred Date/s Alternate Date/s<br />
1<br />
2<br />
3<br />
Please Note<br />
The booking fee is $75 (plus GST) per booking. If your venue is GST exempt please inform<br />
the AGA at barry.reed@youraga.ca<br />
Interested venues are initially allowed two bookings for the year. If exhibition opportunities arise<br />
throughout the year venues will be contacted by e-mail. <strong>Booking</strong>s are on a first come basis and venues have<br />
exhibitions for approximately 3 weeks.<br />
Venues will be invoiced at the beginning <strong>of</strong> the month <strong>of</strong> the booking.<br />
All freight costs are covered by the <strong>Art</strong> <strong>Gallery</strong> <strong>of</strong> Alberta.