BeatRoute Magazine Alberta print e-edtion - June 2016
BeatRoute Magazine is a monthly arts and entertainment paper based in Western Canada with a predominant focus on music – local, independent or otherwise.
BeatRoute Magazine is a monthly arts and entertainment paper based in Western Canada with a predominant focus on music – local, independent or otherwise.
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CITY<br />
MADE IN CALGARY<br />
an exploration of art from the 1960s to the 2000s now in <strong>print</strong><br />
Between 2013 and 2014, the Glenbow museum<br />
presented Made in Calgary: An Exploration<br />
of Art from the 1960s to the 2000s which featured<br />
577 artworks by 219 artists spanning 50 years<br />
of art-making in Calgary. Based on that exhibition,<br />
the Glenbow has published an art-book, Made in<br />
Calgary, which celebrates those artists, their work<br />
during that time.<br />
Melanie Kjorlien, the Glenbow’s VP of Access,<br />
Collections and Exhibitions says the 1960s was chosen<br />
as the starting point because “that’s when the<br />
Art College (now ACAD) and the fine arts program<br />
at the U of C started happening. There was a greater<br />
influx of people, artists and instructors coming to<br />
the city and a lot more development happening at<br />
that time.”<br />
While the educational institutions and the<br />
ideas generated inside those walls certainly<br />
played a vital role in developing Calgary’s artistic<br />
community, Kjorlien notes that the economic<br />
growth and decline that took place over the last<br />
five decades also affected and shaped the city’s<br />
artistic climate.<br />
“The whole the boom and bust cycle, which is<br />
unique to Calgary, had a huge impact on things like<br />
arts funding which is hard sometimes to appreciate<br />
but affects the ways in which people produce and<br />
end up making in terms of their work. “<br />
Five curators, that each oversee one particular<br />
decade in the book, write expansive essays about<br />
the artists, their personalities and mindset, along<br />
with the social, political and economic landscapes<br />
that existed during that 50 year span. In doing so,<br />
they cover a broad cross-section of events which<br />
not only tells the story of how Calgary’s artistic<br />
community emerged and developed, but also<br />
reflects the cultural growth of the city itself.<br />
by B.Simm<br />
1990s — Chris Cran<br />
Large Laughing Orange<br />
Woman, 1991<br />
(left)<br />
One of 10 large paintings from<br />
Cran’s experimental series<br />
called Heads.<br />
1960s — Vivian Lindoe<br />
Summer, 1970<br />
(bottom)<br />
A colleague of many in the<br />
postwar Calgary art community,<br />
Lindoe was a multidisciplinary<br />
artist at heart, engaged<br />
with painting, <strong>print</strong>making,<br />
ceramics, batik and furniture.<br />
1980s — John Hall<br />
Flame, 1988<br />
(bottom left)<br />
In Flame, Hall assembled various<br />
images and tourist kitsch<br />
souvenirs that flooded Calgary<br />
to commemorate the Calgary<br />
1988 Winter Olympics.<br />
CITY<br />
BEATROUTE • JUNE <strong>2016</strong> | 9