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Theme: The Arts & the Environment The ArtsBridge newsletter is published by the Allied Arts Council of Lethbridge twice annually- once in the fall and once in the spring. The newsletter builds awareness on the arts in the Lethbridge and area community. It profiles local artists, groups, events and facilities and often examines the history of the arts in Lethbridge. The publication features contributions from local writers, photographers and artists and is available at no cost to the public.
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advancing the arts in Lethbridge
A publication of the Allied Arts Council of Lethbridge (AAC)
F a l l / W i n t e r 2 0 1 0 . 1 1
Artists
Media Partners 94.1 CJOC Global Television Fisher Radio Pattison Outdoor
Event PartnersBlackfoot Canadian Cultural SocietyBowman Arts CentreBuskers Association of Lethbridge/ Bryan Bradfield
Downtown BRZGalt Museum & ArchivesLethbridge Public LibrarySouthern Alberta Art Gallery
University of Lethbridge Art GalleryWind City Kids FestCity of Lethbridge Parks/Ray WaddleLethbridge Regional Police Service
VenuesACFA RegionaleAerus ElectroluxAllied Arts Council BlissBlueprint EntertainmentBoarderlineBob Croskery StudioBowman Arts CentreBurning GroundCity Hall FoyerClassique DancewearDraffin’s PharmacyEcho BooksElbees HearingElusis Beads
Flair TravelGalt Museum & ArchivesGentlemen III Men’s WearIntrigue LingerieJerry Arnold GalleryJosee’s Handmade Importsle petit TrianonLethbridge Public LibraryMcGuire’s Men’s WearMerle NormanMocha CabanaMueller Art GalleryMystique Home DécorNaturista’sNicholai Home Fashion
Owl Acoustic LoungePainted CottageParlour WindowPenny Coffee HousePotemkin Too Artist CollectiveProgress ClothingQuick PrintRound Street CafeRoyal LePage South CountrySoaring Hearts GallerySouthern Alberta Art GallerySterling MutualsStudio CelesteTanell’s QuiltingTen Thousand Villages
The Miller GalleryThe Shoe TreeThe Slice Bar & GrillThe Sous ChefTompkins JewellersTrianon GalleryU of L Art GalleryWall DécorYates Mezzanine GalleryZephyr Impressions
Volunteers Thank you to our vast army of volunteers. Your contributions are truly appreciated and we could not do it without you!
Event Sponsors thanks!Discover Experience CelebrateAlberta Arts Days .ca
IN CELEBRATION OF NATIONAL CULTURE DAYS
Southern Alberta Art Gallery Artists & PerformersArtWalk Artists & PerformersABFest Artists & PerformersArtsFest Artists, Artisans and PerformersWind City Kids Fest Artists & Performers
ARTSBRIDGE 1
September, the start of the new arts season!
The launch of the arts season in Lethbridge
saw many citizens engaging with our local
arts community to celebrate Arts Days.
Lethbridge was recognized by the province
as one of five 2010 Arts Days Celebration
Flagship cities and the Allied Arts Council
(AAC) was delighted to work in partnership
with many community arts and cultural
organizations, as well as over 200 artists to
bring the weekend to life.
A significant event during the week end
was the grand re-opening of the recently
renovated and expanded Southern Alberta
Art Gallery. The SAAG renovation/expansion
project is the first of the arts facility
improvement projects to be completed. The
second project – the Bowman Arts Centre
Replacement – is in the final design stages
this fall and funding potential for the third
project – a new Performing Arts Centre – is
being investigated.
The design of the new community arts cen-
tre (pgs 13 & 14) considers the environment
and has taken in to account environmental
factors such as wind, sunlight and snow. The
building will use environmentally-conscious
elements such as passive solar heating and
natural building materials.
The environment no doubt inspires the
arts community. Whether it is work that
represents the beauty of our surroundings,
work that interacts with nature or work that
speaks about the importance of protecting
the environment, Lethbridge and area
artists are deeply rooted in the landscape.
This edition of ArtsBridge focuses on
the connections artists have with their
environments.
A recurring theme emerges when con-
templating the arts and the environment;
that is community. An increasing num-
ber of groups and partnerships are form-
ing around the arts and environment. The
Southern Alberta Science and Art Collective
(pgs 2 & 3) brings local artists and scientists
together for conversations, field trips and
collaborative projects. The Helen Schuler
Nature Centre’s Drawn into Action project
(pgs 6 & 7) taught both school children and
adult participants about the importance
of the environment. The Southern Alberta
Community of Environmental Educators
(SACEE) combines art and environmental
education to create unique learning experi-
ences (pg 15).
Much of art that focuses on the environment
serves to educate. A number of musicians
(pg 16) are performing and writing music
to raise awareness and inspire change.
Lethbridge artist Troy Nickle challenges us
to think about the relationship between
culture and nature in his work (pg 14) and
Eileen Murray draws on her relationship
with the environment, whether it is natural
or human made, to learn more about her
self (pg 4).
We are fortunate to have such an inspiring
rural and urban landscape that continues
to inspire amazing art in our city. As
Lethbridge’s arts community continues to
grow, our relationship with the environment
will continue to evolve. It is my hope that
the dialogue between humans and the
environment demonstrated by artists in the
following pages will continue.
Suzanne Lint
Executive Director
director’smessage
Fall
/W
Inte
r 2
010.
11PublisherAllied Arts Council of Lethbridge318 . 7 Street SouthLethbridge, AB T1J 2G2T: 403.320.0555 F: [email protected]
Publication date October 2010
Administration
Suzanne LintExecutive Director
Jana MacKenzieOffice Services & Finance
Ashley MarkusCommunications
Vanessa Eagle BearReception
Programming
Claire HattonEducation & Facility Services
Darcy LoganGallery Services
Board of Directors
PRESIDENTBarb Cunningham
VICE PRESIDENTGloria Torrance
TREASURERMike Thiel
SECRETARYDavid Renter
DIRECTORSChristopher BabitsCarolla ChristieSarah ChristensenShirley DeBowTyler GschaidMelissa ManieriLes OstrowskiIan RandellKim SieverElizabeth Songer
For additional copies contact the AAC office.
No part of this publication may be reproduced without the written consent of the publisher.
1 ARTSBRIDGE
&
2 ARTSBRIDGE
Southern Alberta
scienceart
A new collective of artists and scientists has come together in Lethbridge;
appropriately named the Southern Alberta Science and Art Collective.
The idea for this group was by way of Rose De Clerck-Floate; a Scientist/ento-
mologist who researches invasive plant biological control. She wanted to do
more; “to get on the field rather than just sitting in the stands”. She started
the group because of a deep-seated need to make a difference with respect to
the environment and to engage the public on urgent environmental issues. “I
believe that this can be done through art. I have heard it mentioned by others
that scientific knowledge is not enough to engage people, the messages have
to involve emotion and go deeper within us...to be cognitive.”
co
lle
cti
ve
ARTSBRIDGE 3
De Clerck-Floate organized an inaugural “think tank” and potluck supper to pull together a small group of artists and
environmental scientists for a few of hours of dialogue, thinking and creating to generate ideas for communicating
environmental issues to the public through art (e.g., water issues in Southern Alberta, the realities of climate change, the
impact of invasive species to name just a few topics). Although the idea of environmental art is not new, De Clerck-Floate
felt that “Lethbridge would be a perfect environment for such a project because we have the artists, scientists, landscape
and energy for it.” At the inaugural gathering, the group discussed the scope of the project, how the two groups perceived
each other, and how they would work together as a group. The decisions were to:
1) Take a celebratory approach (versus activist) in engaging the public.
2) Focus on what is local and unique (i.e., to southern Alberta) as a theme.
3) Get to know each other as separate groups and individuals (e.g., artists and scientists) before
launching into a major project.
A second evening was held at the SAAG where each artist and scientist gave a short presentation on what they do in
their work. The group then took a rangeland tour in July to the foothills near Stavely. The tour was led by Barry Adams; a
rangeland ecologist and John Dormaar; a rangeland soil scientist. The two explained the natural history, human history
and science of the foothill rangelands, and guided the group across the wide, rolling rangeland landscape. The walk-about
was made even more dramatic by the drifting of large lingering storm clouds. De Clerck-Floate says: “The group went from
the healthy, lightly-grazed pasture to the diminished, heavily grazed fields and stopped at each to assess and develop a
picture of the situation. What emerged was a collective shift of both our perspective and appreciation of a unique natural
ecosystem in southern Alberta, as revealed by science. Many of the artists and scientists will draw from this experience in
their work. And so the mutual, human experience of two normally separate groups (artists and scientists) will ripple out
to touch others.”
Leanne Elias is one of the participating artists who has been involved in the group since its formation. Elias works in
mediums such as photo and video, as well as being a web designer. She became part of the collective when she was
contacted by De Clerck-Floate. Ryan Doherty, curator at the SAAG had provided a list of possible artists who he thought
may have been interested in the project.
Elias is paired with Frank Larney, a Soil Scientist. Despite having conflicting schedules over the summer, they managed
to connect on the Rangeland Tour in July. Frank works with feedlots and their compost, and Elias plans to visit him on his
work site soon to see his work up close.
When asked about what she has learned so far from the collective, and what the value of artists and scientists getting
together, she answered:
“The passion that all of the scientists show for their work is motivating and inspiring. There is an incredibly rich body of
knowledge that these scientists have, and the opportunity to collaborate with them is pretty exciting. I think that they
are artists at heart, because when they describe their work they use very visual terms. In fact, there are many similarities
between the two groups: we both question incessantly, we both rely on research to come to a conclusion (whether that
conclusion is data or a finished artwork), we both feel the need to communicate to others. There are probably some other
ways that will be revealed as we work as well.”
In talking about plans or ideas for her collaboration with Larney, Elias emphasized the process rather than the finished
product, which seems to be an important theme in the project:
“Although I know there will be some excellent projects that come out of this collective, I also think that the conversations
we have been having until now are also just as important. Sharing of knowledge – whether over coffee or on a full-day
tour – can be transformative.” AB
I think that they
are artists at
heart, because
when they
describe their
work they use
very visual terms.
“
”
The collective has started a blog at scienceandartcollective.wordpress.com where many of the artists and
scientists have shared their work, thoughts and impressions.
4 ARTSBRIDGE
Local artist Eileen Murray lives on a farm near Brooks, AB and is currently undertaking graduate studies at the University of Saskatchewan. She works in non-traditional forms of photography and painting and often combines mediums to create mixed media work. She investigates notions of self, auto biography, memory, the passage of time and cultural identity in her work.
Her recent show at the Bowman Arts Centre, The Myth of the West explored the western tradition of branding cattle. As the wife of a rancher, her role within the tradition involves administering injections to calves, doing paperwork and cooking, much the same as her role as mother and wife. Murray exploited this allocation of roles by using lens distortions and textured papers which created a veil as to what was actually depicted in the photograph.
When reflecting on how living in a rural area affects her artistic practice, she remarked: “The difference between art and life often disappears. When you live in a rural area, you have no choice but to be constantly engaged with your surroundings. Conversations often revolve around the weather, the land and the farm because that is your everyday life.” Murray also talked about the feeling of remoteness, and how it can be beneficial to an artistic practice because of the constant immersion in the landscape.
When thinking about the abundance of creativity on the prairies and whether the landscape has anything to do with it, Murray noted: “I think the landscape definitely contributes into the level of creativity in our area. When you are in a big city, you don’t necessarily engage with the natural landscape as readily as you do in a rural setting. Here you are forced to engage with the land every day, our huge sky and prairies aren’t blocked by large buildings.”
Though her work is often about landscape, she chooses to represent it non-literally: “I do not wish to represent the landscape by recreating an image of the landscape. My goal is to create an atmosphere within the gallery that will encase the viewer in the feeling of landscape.” Murray has developed an increased interest in the relationship between the body and
the environment. After battling with cancer, her interest in self portraiture as a form of therapy and documentation developed as her body changed throughout chemotherapy and radiation treatments. In her emerging work, based upon the landscapes of rural Saskatchewan and Emma Lake, she explores her relationship to the land and finding her place in it again:
I attended the Emma Lake Artist Workshop in 2005 and again in 2009. The experience in 2005 was one of dislocation and personal tragedy; my father had just been diagnosed with cancer and I had discovered a lump in my breast. Although my Father and I were born and he raised in Saskatchewan, the landscape during this time was foreign to me, it was cold and did not whisper the poetry of memory. In 2009, three years after his passing and my clean bill of health, my experience at the workshop was one of self imposed inquiry -where am I, and where do I fit in this landscape? Where have I been? Where shall I go and what will inform my journey? I was interested in discovering the cultural text that is myself through an investigation of familiarity with the unknown and an interpretation of the fictional narratives of found memories.
In this work she layers images of herself in images of empty and decomposing rural buildings and landscapes. The lingering feelings remaining from her illness are explored- disorientation, alienation, and abandonment are echoed in empty landscapes, devoid of preservation and maintenance.
Eileen’s work exposes the intimate connection many artists have with the landscape. Her investigation of personal history, loss and gain is deeply rooted and connected to her rural environment and sense of place. “I document experiences within my surroundings, personal circumstances and traditional dogmas. The work is a space to reflect, re-assess and re-consider ‘self’.” Watch for Eileen’s next show; Imaginings from Emma at the CNP Public Art Gallery in Frank, Alberta from May 23 - July
3, 2011. AB
Art as Life on the Prairies An Interview with Eileen Murray
ARTSBRIDGE 5
a substantial inven-
tory of work that, for a
variety of reasons, will
likely remain so for
some time. Let’s just
refer to it as Van Gogh
Syndrome, though
few if any will ever
gain that artist’s post-
humous fame.
It can be said with-
out reservation that
most visual artists
(at least the ones I
know) certainly don’t
make art for financial
gain. Thus, it could be
said that the issue of
whether a communi-
ty supports its artists
or not is moot. That
would be approach-
ing the whole matter
from a completely
wrong perspective.
Let’s, instead, view it
from the community
point of view. In some
ambiguous way there
is a symbiotic rela-
tionship that exists
between visual artists
(and probably other
bo
ard
blo
gMuch of art is about telling stories– about ourselves and the world we live
in. Art helps define who we are, what we do and where we fit within our
environment. A great deal of art shows how we view our environment while
some art addresses concerns about the environment. Trudi Lynn Smith’s
recent exhibition at the SAAG, Finding Aid, explored the gap between our
photographic representations of places and the real thing. The architecture
at the Galt Museum (especially the viewing gallery) welcomes in the
environment. At Nikka Yuko Gardens, the buildings live in harmony with the
environment... an environment that is carefully controlled. The Lethbridge
Symphony Orchestra’s presentation of A Tone Poem this February is based on
impressions of the badlands and their history.
But the environment is only half the story- if we wish to act on these stories we
need to know the facts. What effect will our actions have on the environment?
It is here science tells us additional stories- told with computers, projections
and math. It has been said that art supplies meaning, art is a mirror we hold
up to ourselves to see more clearly. When you look at art, think for a moment
about the stories that are being told. Does the art promote understanding or
protection of the environment?
There are many local artists telling stories about our environment; their work
creates awareness and can help us all be mindful of the stories we tell. Everyone,
not only artists and scientists, tell their stories about the environment; in the
way we live, the arrangement of our houses and yards and in our actions in
our community. AB
scroll
By Carolla Christie, Visual Artist & Allied Arts Council Board Member
The Stories We Tell
Check out the Association for Literature, Environment, and Culture in Canada’s websitewww.alecc.ca
6 ARTSBRIDGE
Drawnintoaction
The Helen Schuler Nature Centre has been facilitating a Community Mapping Project called “Drawn Into Action”
over the past nine months. The program was presented at local schools in 2009/10 as well as to a group of
community members over the summer of 2010.
The aim of the program is for participants to develop a greater understanding and appreciation for the importance
of biodiversity within Southern Alberta through first hand involvement and experience. No previous mapping
or art experience was required, just a desire to learn more about Southern Alberta and how humans shape the
landscape in the present and into the future. Participants formed a better understanding of how ecosystems
and watersheds impact their everyday life, while exploring the challenges of balancing economic, social and
environmental needs within a community. They took this information and learned how to portray and share
what they value about the land in creative, collaborative maps. The maps will be displayed in community wide
exhibitions (including this year’s Arts Days celebrations in September).
The project included a 1⁄2 day in-class mapping workshop, a one day long local field trip in the Lethbridge area,
and a one day long regional field trip to Waterton Park.
We got a chance to talk to Laura Piersol, Community Mapping Project Coordinator, about the journey.
Maps can be instruments of discovery. A community mapping project, called Drawn into Nature, has become a
journey of discovery, sharing and interpretation for local students, naturalists, artists and youth. The collaborative,
fieldtrip-based project has been described as a meeting of science and art. The process challenged the individuals
and groups who participated to give voice to features of the landscape; to tell the stories of place.
The aim of the program is for
participants to develop a greater
undertanding and appreciation for the
importance of biodiversity within
Southern Alberta
ARTSBRIDGE 7
actionEach map
tells its own unique story
and in the process of
mapping each
individual found their own
personal story...
The Community Group
“Interestingly, the diversity of natural and cultural features that we are studying within the landscape is mirrored
in the amazing variety of backgrounds that our adult community group brings to the program”, notes Piersol.
“From their life experience we are able to draw on everything from forestry to history to performance art. As a
result, the learning on the field trips really is a collaboration of voices that weave together various perspectives
and sprout inspiration”.
Goethe once said “My work is the work of a collective being”; Piersol remarked on how the adult community
member group exemplified this: “Those who were reluctant to call themselves “artists” boldly took up a pencil
to sketch, while those that self identify as artists picked up words such as “riparian” and “leafy spurge” as they
began to expand their science vocabulary. At the heart of the program is a blending of art and science which the
participants really enjoyed.”
The boundaries and man-made divisions expressed in many maps change over time; so too do perceptions and
relationships with the built and the natural features that surround us. As we become more aware of a place we
can’t help but appreciate some aspects of it more. When we appreciate something, we value it. In the end, it is
the things we value that we will preserve. “This sharing of ideas, values and a general love of nature is a common
theme for many of the community members participating. You can really hear this in the current visions they
have for their maps”, says Piersol. Members worked on maps ranging from a fabric skirt that represented the
Oldman River to a photo collage of wildlife found on coulees, to acrylic paintings of how an area within the
watershed changes throughout the seasons.
The School-Age Group
The teachers of the close to 50 middle school students that participated in the project expressed their gratitude
in the project’s cross curricular nature and the time that was given for students to reflect on what they had
seen and taken part in. The groups focused on the “interconnection within ecosystems” as it fit in with one of
the objectives of their science unit. Their maps illustrated how the watershed and grasslands link together the
landscapes that the students explored within Waterton and Lethbridge. Egg cartons formed mountain peaks and
glass beads marked rivers; the maps were all very tactile and creative.
The classes took the project to heart, showing dedication and commitment despite their busy school schedule,
some students even came in on their lunch hour to work on their maps. The students have reason to be proud of
the pieces that they created and their works were displayed during Lethbridge Arts Days in September alongside
other artists. Hopefully, this was the first showing of many for students that choose art for their life’s path.
Conservation within Southern Alberta means embracing a sense of a “working landscape” where farmers, cities
and industry must all work together to meet a balance of various social, environmental and economic needs.
These various land use perspectives were presented during the project through a series of guest speakers. These
speakers with their backgrounds in ecology, archaeology, ranching and conservation work not only underlined
the importance of collaboration when it comes to conservation but also shared their personal connection to this
place we all call home.
Each map tells its own unique story and in the process of mapping each individual found their own personal story
more connected to the unique natural and cultural sites of Southern Alberta. AB
To find out more about the program, or to learn more about the importance of biodiversity within Southern
Alberta, visit the Helen Schuler Coulee Centre in the Oldman River Valley or contact (403) 320-3064.
WWeʼre back!
Although the name is familiar to some, the resurrection is not without changes.
Over ten long years of publication blackout have resulted in a re-energized
group of people anxious to rebuild the University of Lethbridge’s own literary
magazine. For those who aren’t familiar: Whetstone was established in 1971 as
a literary magazine that published poetry, prose and visual art. With a dedicated
editorial team, committed advisors from the English faculty and donations from
the community, Whetstone was able to produce an annual medium for the poets,
writers and artists of the area. Eventually publishing biannually, the magazine ran
until the winter of 1999.
Now fast forward a little to 2009.
One of our faculty advisors, Dr. Jay Gamble, informed of us Whetstone’s history and
sparked an interest in the publication of a literary magazine. A preliminary meeting
drew over twenty students, all vying for a position on the editorial group. The initial
enthusiasm and strong interest in reviving the University’s long forgotten literary
magazine had bolstered the desire to renew the publication.
The collective decided to remain as Whetstone. The rural flare of the sharpening
stone remained a fascinating banner for a magazine that was published out of
southern Alberta. The rich, thirty-year tradition was difficult to ignore and it seemed
an honor, rather than a burden, to carry that name back into present. However, after
a ten-year intermission it seemed as though Whetstone was due for an upgrade
into the twenty first century.
Our “first” issue embraces our past while taking strides forward. We have
submissions by four winners of the Striking Prose Competition, poetry that plays
with form and space including three from prairie poet Robert Kroetsch and several
texts that embody southern Alberta. All of this is held together by the modern,
fresh layout design of Braden Yamamoto who has provided a shiny new body that
integrates the past and present. Both the content and the container represent the
revival of Whetstone, the resuscitation complete with a revamped exterior and a
careful adherence to the timeless design of the original. We have the technology
and we have rebuilt it, a synthesis of new and old.
Whetstone launched its new magazine at September’s Arts Days celebrations.
There were readers and writers who shared their work as well as representatives of
the magazine that answered questions about Whetstone, including our submission
guidelines for the next issue (coming this winter). It was a great opportunity to
consume, ruminate on and explore the local arts that hopefully inspired many to
create their own works of art! AB
For more information on Whetstone contact Jay Gamble, 403.382.7178
by R
ylan
Spe
nrat
h, M
anag
ing E
dito
r, W
hetst
one
Whetstone Literary Magazine ReturnsAf te r more t han a de cade l ong h ia tu s Whe t s t one makes i t s r e - debu t .
8 ARTSBRIDGE
poem
by S
helly
Eli
Trail MixWith hands gripping thesteering wheel
First year in college
He stares at the Rabbitstaring back
Think, Think, Think
Where can he get some money,Gas gauge is on Elvis
Ask the Rabbit for help
Take pity on me Rabbit Spirit,I have no tobacco to offer
Please send me some money,
I need to put gas in the car,to get to class all week
Dad says you like trail mix
I will put some out for youas soon as I can
He starts his car
Rabbit watches as he drives away,his music so loud
Canʼt hear what Rabbit says
Okay Grandson, I will help you,donʼt forget the trail mix
No salt, lots of cranberries.
Whetstone Literary Magazine ReturnsAf te r more t han a de cade l ong h ia tu s Whe t s t one makes i t s r e - debu t .
ARTSBRIDGE 9
There’s nothing quite like enjoying the sound of live music
in the outdoors on a beautiful day. This past summer’s
South Country Fair, “an intimate outdoor, camping-style
folk and roots festival” was no exception, and got me
thinking about the role that the landscape, weather and
environment play in creating the fair’s all-encompassing
experience. There’s something about a couple thousand
people coming together to camp in a prairie valley for a
weekend that creates a truly unique experience.
Many who stay the weekend share a similar understanding;
we will get dirty, bug-bitten, hot and thirsty; but we will
take care of each other and the land. From campsites
offering a refreshing spritz of water to passers by on a
hot afternoon, to guided tours explaining medicinal and
edible plants in the area, or a labyrinth made completely
of local found stones, the feeling of community and
kindness abounds.
One of the most memorable features of the fair is going
for a dip in the Oldman River when the heat is sweltering.
As I had missed the last few years of the fair, I was amazed
to see a new route carved out into the forest that led to
the new swimming area. We soon adapted and enjoyed
walking on the new path and discovered the rusty
remnants of decomposing cars in the forest; left over from
a time gone past. I was surprised to see how the Oldman
River had changed; and the former swimming spot and
islands were now flooded out and deemed unsafe. The
change in the river and landscape mimicked the changes
in life; after 10 years of going to the fair, life has changed
too. We don’t often notice small changes in the landscape
such as how a river gradually carves out a new path. It’s
nice to be able to return to the fair grounds once a year
and see the subtle changes that aren’t noticed day to day.
The Sounds of the Great
By Ashley Markus
Many who s t a y t he weekend sha re a s im i l a r unde r s t and ing ; we w i l l ge t d i r t y, bug -b i t t en , ho t and t h i r s t y ; bu t we w i l l t ake ca r e o f ea ch o the r and t he l and .
Outdoors
10 ARTSBRIDGE
There’s nothing quite like enjoying the sound of live music
in the outdoors on a beautiful day. This past summer’s
South Country Fair, “an intimate outdoor, camping-style
folk and roots festival” was no exception, and got me
thinking about the role that the landscape, weather and
environment play in creating the fair’s all-encompassing
experience. There’s something about a couple thousand
people coming together to camp in a prairie valley for a
weekend that creates a truly unique experience.
Many who stay the weekend share a similar understanding;
we will get dirty, bug-bitten, hot and thirsty; but we will
take care of each other and the land. From campsites
offering a refreshing spritz of water to passers by on a
hot afternoon, to guided tours explaining medicinal and
edible plants in the area, or a labyrinth made completely
of local found stones, the feeling of community and
kindness abounds.
One of the most memorable features of the fair is going
for a dip in the Oldman River when the heat is sweltering.
As I had missed the last few years of the fair, I was amazed
to see a new route carved out into the forest that led to
the new swimming area. We soon adapted and enjoyed
walking on the new path and discovered the rusty
remnants of decomposing cars in the forest; left over from
a time gone past. I was surprised to see how the Oldman
River had changed; and the former swimming spot and
islands were now flooded out and deemed unsafe. The
change in the river and landscape mimicked the changes
in life; after 10 years of going to the fair, life has changed
too. We don’t often notice small changes in the landscape
such as how a river gradually carves out a new path. It’s
nice to be able to return to the fair grounds once a year
and see the subtle changes that aren’t noticed day to day.
It’s refreshing to see first hand the power that nature can
still hold over humans; these days it seems to be the oppo-
site in most cases. And part of the fair experience is about
adapting; fair goers didn’t seem bothered by the new route
to get to the river, but rather happy to start a new tradition.
Mark Whitehead, dedicated fair-goer shared his thoughts on
the changing river and its impact on the festival: “The course
of the Oldman has changed quite a bit over the years, and
has had a big impact on the fair. Definitely wetter years are
always more mosquito prone; during the flood of 2005 a
lot of the campground was part of the river. Because of all
the flooding then and now, the access to the lower
campground will forever be changed.”
When asked if he had any memories that
stood out of amazing interactions between
the music and landscape, Mark recollected:
“I remember a powerful thun-
derstorm during McQuaig’s
performance about five
years ago. Lightning
and thunder were the
perfect counterpoint
to the raw energy of
Mcquaig’s celtic-punk
bagpipes.”
By the end of the festival, many were yearning for some
sort of crescendo; to help the festival go out with “a bang”.
The weather had been consistently hot, and the sometimes
Saturday night thunderstorm (and resulting Sunday morn-
ing mudslide) had not taken place. The closing act of the
festival was Delhi 2 Dublin; a high energy, Vancouver-based
band combining an energetic mash-up of Bhangra, Celtic,
Dub Reggae and Electronica. Fair goers were notably tired
from the weekend’s festivities, but as the band played its
first few songs, the air got muggy, the skies clouded over,
and the energy grew; an approaching summer storm
appeared.
The band belted out their songs and shook their
fists at the clouds as fair goers squeezed in as much
as they could before the oncoming downpour. The
crowd of dancers and the band had an unspoken
understanding to squeeze in every last bit of
bliss before the summer storm. It held off un-
til the band finished and the resulting crowd
was quickly ushered home by the downpour.
Experiences such as this are a unique part
of South Country Fair, and they provide a
grounding experience that keeps fair goers
coming back, year after year. It’s an awe-inspir-
ing experience to see the environment and
the arts working together to create something
genuinely beautiful. AB
Check out past photos from the fair at
www.scfair.ab.ca.
Many who s t a y t he weekend sha re a s im i l a r unde r s t and ing ; we w i l l ge t d i r t y, bug -b i t t en , ho t and t h i r s t y ; bu t we w i l l t ake ca r e o f ea ch o the r and t he l and .
ARTSBRIDGE 11
The Community Arts Centre is replacing the worn-out and deteriorating
Bowman Arts Centre; a facility the Lethbridge arts community has long
outgrown. The Allied Arts Council (which manages the Bowman and its
programming) and the arts community have been lobbying for a new
facility for decades and they are gratified to see the project being realized.
The Community Arts Centre won’t be just replacing the Bowman, it will be
so much more.
The University of Lethbridge Conservatory of Music has also been running
short on space at the university for years. With the announcement earlier
this year regarding the Community Arts Centre, the Conservatory saw
an opportunity to partner with like-minded individuals in order to secure
additional space that is in a more central location. Having the Conservatory
as a partner in the facility expands the offerings, making it a truly multi-
generational, multi-disciplinary environment. Programs will share foyer
space, meeting rooms, administration space, rehearsal and storage space,
washrooms and dressing rooms.
LETHBRIDGE’S NEW COMMUNITY ARTS CENTRE IS BECOM-
ING A REALITY. THE SITE OF THE FACILITY WILL BE ON THE
CORNER OF 8 ST AND AVE S; BETTER KNOWN AS THE OLD IGA
SITE. THE COMMUNITY ARTS CENTRE WILL SHARE THE SITE
WITH THE FUTURE PERFORMING ARTS CENTRE, WHICH WILL
BE A SEPARATE BUILDING AND UNDERGO A SIMILAR PROCESS
AS THE ONE DESCRIBED BELOW.
By K
im S
ieve
r, AA
C Bo
ard M
embe
r, Ch
air-
Com
mun
ity A
rts C
entr
e Ste
erin
g Com
mitt
ee
Next StepsLethbridge’s Community Arts Centre[ ]
3
12 ARTSBRIDGE
Next StepsShortly after the Community Arts Centre was announced, a public call out was made for three community
representatives to serve on the Community Arts Centre Steering Committee. This committee was formed
by the City of Lethbridge and included representatives from arts groups, Bowman staff, Conservatory
staff, Allied Arts Council staff, City of Lethbridge staff, and members of the general public.
The steering committee then spent significant time combing through thousands of pages of proposals
from architects from throughout Canada and the United States. After meeting with the shortlisted
candidates, the committee came to a consensus on an architect team. The committee ultimately selected
local architectural firm Ferrari Westwood Babits who was partnering with Calgary-based Pendergast
Nyhoff Collaborative Architecture. The committee met with the architectural team—Art Ferrari, Dan
Westwood, Christopher Babits, Jane Pendergast, and Kevin Nyhoff—several times over the summer, and
a preliminary design was finalized toward the end of August. The design was presented to and approved
by City Council on September 13.
The next step will be to prepare detailed drawings and send out a request for tender. Once all the tenders
are in, a firm to manage the construction of the Community Arts Centre will be selected.
The Community Arts Centre will be a focal point of the arts in Downtown Lethbridge. Citizens will be
able to enroll themselves and their children in dance, music, pottery, drawing, and painting classes. It
will house a gallery for exhibiting talent from local artists and serve as a collaborative home for the arts
groups currently at the Bowman.
The 30,000 sq. ft. facility will include classrooms; 3D studios for clay and sculpture; 2D studios for drawing,
painting, and printmaking; a textile studio, a kiln room; a wood workshop; exhibition space; meeting
rooms; a community space for theatre or music/dance rehearsals; dressing rooms; a dance studio and
music practice rooms.
Finishing, lighting, and millwork inside will be durable and industrial-looking though warm. This, as well
as the building form, will highlight the creative experimentation that is the essence of a community arts
centre. Works will be visible through interior walls and display boxes so passersby will be able to see art
as it unfolds.
The exterior will express the interior activity, so the city can see what’s happening in the building and patrons
can see what’s happening in the city. An outdoor plaza will host cultural festival and performances.
Situated adjacent to the recently renovated Southern Alberta Art Gallery and a future Performing Arts
Centre—as well as the nearby Trianon and Mueller galleries, the Potemkin studio and Allied Arts Council
offices—the Community Arts Centre will be part of a growing and vibrant arts district downtown.
If everything goes according to plan, late in 2012 we should see a beautiful two-storey building in the heart
of downtown that glows with excitement and inspires the imagination. AB
CITIZENS
WILL BE ABLE
TO ENROLL
THEMSELVES
AND THEIR
CHILDREN IN
DANCE,
MUSIC,
POTTERY,
DRAWING,
AND PAINTING
CLASSES.
[
]
ARTSBRIDGE 13
14 ARTSBRIDGE
AD: Describe your work for someone who doesn’t have any exposure to land or outdoor work.TN: It varies a lot – I would describe it as environmental sculpture, working with materials found in the environment as well as materials in the studio that may make reference to the landscape or the figure. You could call it land art, I guess.
AD: Do you pre-plan your work?TN: No- usually, if I am working on an outdoor intervention, the time and place will make the work and it will depend on materials available. If there’s a large amount of driftwood for example, I’m not going to carry it long distances to work with it, I’ll just do the work onsite.
AD: Do you see yourself in a broader movement?TN: I think so, this kind of thing is happening everywhere with a variety of artists. There are a lot of common universal themes surfacing.
AD: Like what?TN: The spiral or coil – that’s been done hundreds of times – I don’t know if I want to focus on that, making spirals all the time, in my own work, but it’s a universal image.
AD: Are there other elements, conceptual or aesthetic, that you connect with or that are relevant to the work?TN: The landscape and the figure seem to be a current theme. Early on in my development as a sculptor, I sculpted from the figure a lot and something about the figure in the landscape references society and culture, and society’s place within the environment. It symbolizes where society works within nature. There is definitely an aesthetic thing I strive toward when I create a work, but I consider it more of a gesture, or an event, that takes place. Also, I like the backcountry ethic of leave no trace. For example, Chris Dury – he would set up a cairn and then dismantle it after he photographed it.
AD: Were you exposed to this kind of work growing up in Lundbreck?TN: Maybe I had come across cairns and inuksuks when I was younger. In my early college years I was exposed to Richard Long, and after that I traveled and was out in nature a lot.
AD: What is the driver behind your art?TN: I think part of it is connecting with the environment, getting into nature, working to create something that is about place, material, form, and the process itself. I really enjoy being in that process, from going on walks, then spending time on the intervention and then documenting it. The responses people have are also important. I get pretty good feedback, so it seems that things I am doing are resonating. On my blog it says that my work is about the relationship between culture and nature, and I think I haven’t really explored that fully. The idea that culture, that I am culture, creating organic forms and bringing that to nature - putting the figure in the environment, that’s the idea. I haven’t fully resolved that aspect of it.
AD: You’re involved in the Southern Alberta Science and Art Collective- who are you working with?TN: I plan to meet with a retired geologist named Doug Patterson. The idea is to explore each other’s background and to collaborate in some way. I would like to learn more about geology to broaden my understanding of the earth and how the formation of the mountains, hills and coulees that surround us occurred. I enjoy exploring topographies in my sculpture so working with Doug will be a good opportunity.
AD: What’s in store for the future? What would be your ideal “magic wand” scenario? TN: Working with large format cameras, travel, experience cultures outside of this geographic area and exhibit installations or sculpture as a result of my experiences. Magic wand? Maybe I’d be showing alongside Long and Goldsworthy at the London Tate or Bilbao Guggenheim in 5 or 10 years. That would be good. AB
See more of Troy’s work at: www.troynickle.blogspot.com
Working in Tandem with NatureTroy Nickle is a prolific Lethbridge-based land/ environmental artist. Having studied at
both ACAD and the U of L, his current work focuses on the integration of culture and nature.
His work has shown in both Lethbridge and Calgary.
By Andy Davies, a Lethbridge-based artist
An Interview with
Troy Nickle
“There is definitely an aesthetic thing I strive toward when I create a work, but I consider it more of a gesture, or an event, that takes place.”
The Southern Alberta Community of Environmental Educators (SACEE) believes nature inspires art and art
builds awareness and inspires a love of nature in a unique way. Together, the art and nature partnership
is a powerful means to build our stewardship potential, and sustain an abundance of thriving special,
wild places! The mission of SACEE is to create inclusive, meaningful opportunities to learn and grow
from eclectic perspectives, forming respectful, collaborative, and cooperative partnerships.
SACEE connected art, science and nature in a big way through the Canadian Nature in Mind Arts Festival in
February 2008, where having fun building meaningful relationship with our neighbours and ecosystem
in an environmentally friendly way through the arts was the goal. With a core group of volunteers and
various sponsors including the Southwest Alberta Teacher’s Convention Association, six internationally
celebrated musicians from across Canada gathered in Lethbridge co-creating the Festival with over 200
local musicians, artists, actors, dancers, poets and volunteers, sharing their talent and inspiring over
2000 people from across southern Alberta. In May 2010 Paul Bohnert, Director of SACEE, was recognized
by the Global, Environmental and Outdoor Education Council of the Alberta Teachers Association with a
Merit Award for his work with the festival.
The ripples and returning waves of the Festival are big, and still being felt, with visiting artists keen to
participate in a second Canadian Nature Festival. In the future SACEE hopes to host a second Canadian
NatureFest with a good mix of local and international flavour. In the meantime they are planning the
Neighbourhood NatureFest; celebrating Special Places through the Arts in a 10-day guided discovery
experience. The events take place from October 10 – 20, and are being offered in conjunction with
the start of SACEE’s Neighbourhood Stewards and Nature Clubs mentorship program. For current
information visit their website at www.sayee.ca. AB
& The Arts go Hand in Hand for SACEE
Environmental Education
nature inspires art
ARTSBRIDGE 15
Frank Horvat, a Toronto-based pianist,
composer, and teacher recently performed
at the Lethbridge Public Library as a stop for
his Green Keys tour.
Green Keys is a 50 stop, year long cross-
Canada tour promoting eco-sustainability.
Horvat performs his original piano
compositions and improvisations; a mix of
classical and popular styles - from Liszt to
Satie to Philip Glass. The highlight of the
concert is the performance of “Earth Hour” -
a continuous 1-hour piano piece inspired by,
and performed in the dark.
A portion of the proceeds from the sale of
Horvat’s new CD, “A Little Dark Music”, go
to the World Wildlife Fund - CDs are still
available online. The Lethbridge stop of the
Green Keys tour was supported by Bullfrog
Power, Spirit in Motion Yoga, Lethbridge
Public Library, and Lethbridge Branch of
the Alberta Registered Music Teachers’
Association.
Horvat has taken steps to increase the
sustainability of the event by:
Lethbridge born, Calgary based musician and songwriter, Rob Ursel
recently entered his song David Suzuki, into CBC Radio 3’s Playlist for the
Planet. The contest was sponsored by the David Suzuki Foundation in
celebration of their 20th anniversary. Musicians were asked to submit
their original songs about the environment and over 600 entries were
submitted from across Canada. The songs were posted on the CBC Radio
3 website where the public listened to and voted on their favourites.
The top song for each province will be included on an upcoming CD,
David Suzuki’s Playlist for the Planet.
Votes were narrowed down to a list of five finalists for each province; and
Ursel’s song, David Suzuki was among the top five for Alberta. “A few
people approached me to enter the contest” said Ursel “they thought
the song fit in well with the theme.” The song is a tongue-in-cheek “poke
at apathy.” Ursel said he was motivated to write the song after watching
the evening news on TV: “all the news is these days is one disaster after
another, so I wrote the song to bring up some of the issues. But I didn’t
want to be preachy or whiny, so I chose to do it through humor.” The
song is set to a Hawaiian-esque melody.
Though Ursel’s song didn’t receive the top vote for Alberta, he was happy
to have his song chosen as one of the top five. He remains firm that
action should be taken to stop further destruction to the environment;
but also that our sense of humour and play should remain intact. “If we
lose that, we are recklessly tossing out an integral part of what makes us
human in the first place.” AB
Playlist for the Planet David Suzuki,
What is this world trying to do to me?
Will the sun burn a hole right through me?
Will a hurricane blow me away?
You can listen to Ursel’s song at www.reverbnation.com/robursel
To learn more about David Suzuki’s Playlist for The Planet visit
www.davidsuzuki.org
Green Key s Tou r
« Using concert venues powered by Bullfrog Power
« Not printing programmes at the concerts, but rather using a digital screen to display the programme
« Using sustainable and public modes of transportation as much as possible
« Packaging CDs on FSC paper using vegetable inks
« Offering download cards (made with recyclable plastic) instead of having to purchase
physical product
« Sheet music for sale is printed on FSC paper
« Ensuring public transit is available to all venues AB
For more information on the tour visit www.frankhorvat.com
16 ARTSBRIDGE
Lyrics by Rob Ursel
On July 10, 2010, the weaving community lost a great friend and
weaving companion with the passing of Marjorie Carlson. She was an
inspiring weaver, creating wonderful textiles that were then sewn into
classic garments. As a long time member of the Lethbridge Handicraft
Guild, she shared her enthusiasm for, as well as her knowledge of, the
art that she practiced so diligently. While best known for her creative
textile weaving, she tried all aspects of weaving from rugs to fine
table linens.
Marjorie was introduced to weaving at a community centre class in
the mid 1960s. She then learned to work on larger looms with her
husband’s uncles and aunt in the 1970s. Shortly after, she started
carding and spinning raw wool. She then joined the Taber Weaving
Guild, and later the Lethbridge Handicraft Guild. These contacts
allowed her to expand her weaving knowledge, and enabled her to
become deeply involved in the weaving community.
Moving to Lethbridge in 1989 enabled her to spend more time at the
Lethbridge Handicraft Guild and share her love of weaving. When
the Guild celebrated its 50th anniversary by designing the City of
Lethbridge Tartan, she was very involved in the design and weaving
process, and afterwards proudly wore her tartan skirt on many
occasions. She was also actively involved in helping plan and host
several provincial conferences in Lethbridge. She actively supported
the Handweavers, Spinners and Dyers of Alberta both as a member,
and as an attendee at the yearly conferences, but also serving as the
Southern Area Representative for many years.
Marjorie spent a great deal of time studying and being current on the
trends of her art. She had a great sense of colour, and was not afraid to
use it. The quality of her materials, her colour sense, and her dedication
to fine weaving were her hallmarks. She attended many regional and
international conferences to take workshops and meet other like-
minded artists. Many of her garments were shown at provincial and
international weaving shows. She shared this knowledge and these
experiences freely with others in the Guild.
While her family benefited the most receiving her creations, she
also shared them with the public through various shows as well as
through the guild sales. Many members cherish the pieces they have
that were woven by Marjorie. Her creativeness, willingness to share,
and her enthusiasm for her art will be missed by her many weaving
friends. Her legacy will live on. AB
In Memoriam:
Marjorie Carlson
A Weaver’s Life
By Frances Schultz
ARTSBRIDGE 17
You can listen to Ursel’s song at www.reverbnation.com/robursel
To learn more about David Suzuki’s Playlist for The Planet visit
www.davidsuzuki.org
« Using concert venues powered by Bullfrog Power
« Not printing programmes at the concerts, but rather using a digital screen to display the programme
« Using sustainable and public modes of transportation as much as possible
« Packaging CDs on FSC paper using vegetable inks
« Offering download cards (made with recyclable plastic) instead of having to purchase
physical product
« Sheet music for sale is printed on FSC paper
« Ensuring public transit is available to all venues AB
T h a n k y o u t o o u r e v e n t p a r t n e r s
Thank You
2010 AACE Awards ALLIED ARTS COUNCIL AWARDS OF EXCELLENCE
Business
Clear Sky RadioIndividual
Carol RobertsService Organization
Southminster United Church
Joan Waterfield Memorial Award George & Nellie Mann
LUNCHEON. . . f o r b u s i n e s s & t h e a r t s
MAYOR’S
Individual Members:
Aaron A. Keeling
Mike Judd
Wendy Lipinski
Cliff Yanover & Lynda Hartley
Ruth P. Christie
Jon Pryde
Todd Lacharite
McQuaid Family
Alyssa McQuaid
Rhianna Barron
Melissa Manieri
Matt Robinson
Sharin Peters
Jessica Ens
Len Komanac
Jonathan Legg
Karen Romanchuk
Tracy Somerville
Allied Members:
Lethbridge Community
Taiko Association
N.A.A.G
Wind City Kids Festival
Associate Members:
Rhino In The Room
Elusis Beads
Beyond Zed Gift Cottage
Lethbrige Masons Lodge #39
New Members: Feb 15/2010 – Sept 15/2010
AAC membershipCONTACT THE AAC OFFICE FOR A LIST OF BENEFITS & FURTHER INFORMATION
support the arts
NEW MEMBER RENEWAL
Name
Business (if applicable)
Address
City
Province
Postal Code
Telephone
Facsimile
Website
Allied Organization $75*
Artist $25*
Associate $75*
Friend to the AAC $15
Family Friend to the AAC $25
I would like to make a donation of $
TAX RECEIPTS WILL BE ISSUED FOR DONATIONS
CREDIT CARD INFORMATION
Visa Mastercard
Total Donation and/or Membership amount
Card#
Expiry Date
Signature
CHEQUES ARE PAYABLE TO THE ALLIED ARTS COUNCIL OF LETHBRIDGE
I am interested in becoming an AAC volunteer
*Inclusion in 2011/2012 AAC Arts Directory
The Allied Arts Council (AAC) is a registered not-for-profit organization with
the mandate to advance the arts in our community. The AAC supports artistic
endeavours that enhance the quality of life for individuals and our community.
The organization is supported by its members, corporate and private donations
and annual fundraising activities. Support is gratefully received from:LUNCHEON. . . f o r b u s i n e s s & t h e a r t s
MAYOR’S
1 ARTSBRIDGE
calendar of eventsEmpress Theatre . . . . . . . . . . . . . . Emily Smith, BBC ‘Scots Singer of the YearOct 7 & 8, 8pm
Galt Museum & Archives. . . . . . . Galt Hospital 100 YearsUntil Dec 5, 2010
Archives Exposed... Towns AroundUntil Jan 30, 2011
The Fabric of British Home Children Until Jan 30, 2011
OktoberfestOct 15
Lethbridge Folk Club . . . . . . . . . . Howling Wolf Open Stage Oct 8, 8pm
Ray Bonneville Oct 9, 8pm
Howling Wolf Open Stage Oct 22, 8pm
Lethbridge Symphony Orchestra. . . . . . . . . . . . . . . . . . . . . Homecoming, with guest, Stewart GrantOct 9, 8pmSouthminster United Church
City of AngelsOct 18-20, 8pmYates Memorial Centre
Mueller Art Photography & Gallery . . . . . . . . . . . . . . . . . . . . . Robert Froese: Ceramics in the Japanese StyleUntil Nov 7
Playgoers of Lethbridge . . . . . . . “One for the Pot” Dinner TheatreOct 19-22Sandman Hotel
SAAG. . . . . . . . . . . . . . . . . . . . . . . . . On Your MarksUntil Nov 14
Welcome to My WorldUntil Dec 5
University of Lethbridge Art Gallery . . . . . . . . . . . . . . . . . . .
Art Gallery Open HouseOct 15, 10am to 1pmMain Gallery
Jamelie Hassan: At the Far Edge of Wordsuntil Oct 29Main Gallery
Shifting Mythsuntil Oct 24Helen Christou Gallery
Lethbridge National ParkOct 29 - Jan 14Helen Christou Gallery
University of Lethbridge Faculty of Fine Arts . . . . . . . . . . . . . . . . . . . . . Uncommon Women and Others by Wendy WassersteinOct 19 – 23, 8pmUniversity Theatre
The Good Egg by Michael Lewis MacLennanOct 28 – 30, 8pm,Matinee: 2 pm, Oct 30David Spinks Theatre
Vox Musica . . . . . . . . . . . . . . . . . . . U of L Ensembles Showcase Concert in honour of incoming president Dr. Michael J. MahonOct 5, 8pmUniversity Theatre
NOVEMBER
Bowman Christmas Sale . . . . . . . Lethbridge Artists Club, Lethbridge Handicraft Guild of Weavers, Lethbridge Society of Stained Glass Artists, Chinook Woodturning Guild, Oldman River Potters Guild, Textile Surface Design GuildNov 26, 10 am - 9 pm, Nov 27, 10 am - 4pmBowman Arts Centre, 811 5th Ave S
Empress Theatre . . . . . . . . . . . . . . Chic GamineNov 19 & 20, 8pm
Galt Museum & Archives. . . . . . . Galt Hospital 100 YearsUntil Dec 5
Archives Exposed... Towns AroundUntil Jan 30, 2011
The Fabric of British Home Children Until Jan 30, 2011
Adopt-an-Artifact FundraiserNov 1-30
Lethbridge Folk ClubHeather Blush and the UppercutsNov 6, 8pm
Howling Wolf Open Stage Nov 12 & 26, 8pm
Linda McRae with Ken Hahm Nov 27, 8pmAll shows at the Wolf’s Den
Mueller Art Photography & Gallery . . . . . . . . . . . . . . . . . . . . . Robert Froese: Ceramics In The Japanese StyleUntil Nov 7
Oldman River Potters Guild . . . . Christmas SaleNov 29 & 30, 10am - 8pmBowman Arts Centre
SAAG. . . . . . . . . . . . . . . . . . . . . . . . . On Your MarksUntil Nov 14
Welcome to My WorldUntil Dec 5
Trianon Gallery . . . . . . . . . . . . . . . Potemkin Artist Collective ExhibitionNov 20, 9pm openingTrianon Gallery and Le Petit Trianon Gallery
University of LethbridgeArt Gallery . . . . . . . . . . . . . . . . . . . Lethbridge National ParkOct 29 - Jan 14Helen Christou Gallery
Promising ObjectsNov 5 - Jan 7Main Gallery
Culture Vulture Saturdays: Button MakingNov 20, 10am - 5pmCentre for the Arts atrium
University of Lethbridge Faculty of Fine Arts. . . . . . . . . . . . Opera Around the WorldNov 5 & 6, 8pmUniversity Recital Hall
Glen Montgomery in RecitalNov 20, 8pmUniversity Recital Hall
Spring Awakening by Frank Wedekind Nov 23 -27, 8pmUniversity Theatre
U of L Wind Orchestra ConcertNov 26, 8pmSouthminster United Church
Vox Musica . . . . . . . . . . . . . . . . . . . Beethoven Symphony No. 9Nov 22, 8pmSouthminster United Church
Magnum Mysterium (collaboration with the U of L Women’s Chorus)Nov 30, 8pmSouthminster United Church
DECEMBER
Empress Theatre . . . . . . . . . . . . . . Tom JacksonDec 11 & 12, 8pm
Galt Museum & Archives. . . . . . . Archives Exposed... Towns AroundUntil Jan 30, 2011
The Fabric of British Home Children Until Jan 30, 2011
Lethbridge Folk Club . . . . . . . . . . Howling Wolf Open Stage Dec 10, 8pm
New West Theatre . . . . . . . . . . . . . GlitzDec 17 - 31Yates Theatre
Marooned with MunschDec 26 – Jan 8Sterndale Bennett Theatre
Oldman River Potters Guild . . . . Christmas SaleDec 1 - 3, 10am - 8pmDec 4, 10 am - 4pmBowman Arts Centre
SAAG. . . . . . . . . . . . . . . . . . . . . . . . . Welcome to My WorldUntil Dec 5
University of Lethbridge Art Gallery . . . . . . . . . . . . . . . . . . . Lethbridge National ParkOct 29 - Jan 14Helen Christou Gallery
Promising ObjectsNov 5 - Jan 7Main Gallery
University of Lethbridge Faculty of Fine Arts. . . . . . . . . . . . Birth of the CoolDec 1, 8pmUniversity Theatre
Classical Percussion ConcertDec 3, 8pmUniversity Theatre
Magnificat & MessiahDec 4, 8pm & Dec 5, 3pm Southminster United Church
october
november
december
of
ARTSBRIDGE 1
JANUARY
Galt Museum & Archives. . . . . . . Archives Exposed... Towns AroundUntil Jan 30, 2011
The Fabric of British Home Children Until Jan 30, 2011
New West Theatre . . . . . . . . . . . . . Marooned with MunschDec 26 – Jan 8Sterndale Bennett Theatre
Oldman River Potters Guild . . . . Stock Reduction SaleJanuary 27 & 28, 10am - 8pm January 29, 10am - 4pmBowman Arts Centre
University of Lethbridge Art Gallery . . . . . . . . . . . . . . . . . . . Lethbridge National Parkuntil Jan 14Helen Christou Gallery
Culture Vulture Saturdays: Prairie Ink DrawingsJan 15, 10am - 5pmCentre for the Arts atrium
A Little History on the PrairiesJan 14 - Feb 25Main Gallery
University of Lethbridge Faculty of Fine Arts. . . . . . . . . . . . Big Band CabaretJan 22, 8pmU of L Ballrooms (Students’ Union Building)
TheatreXtraJan 20-22, 8pm Jan 22 matinee 2pmDavid Spinks Theatre
Classical WindsJan 22, 8pmUniversity Recital Hall
SchubertiadeJan 27, 7:30pmLethbridge Public Library Theatre
Original BrassJan 28, 8pmSouthminster United Church
AbbondànzaJan 29, 6pmCoCo Pazzo Italian Café
Vox Musica . . . . . . . . . . . . . . . . . . . 2011 First rehearsalJan 11, 7pm U of L, W480
FEBRUARY
University of Lethbridge Art Gallery . . . . . . . . . . . . . . . . . . . A Little History on the PrairiesUntil Feb 25Main Gallery
Culture Vulture Saturdays: Print MakingFeb 5Centre for the Arts atrium
University of LethbridgeFaculty of Fine Arts. . . . . . . . . . . . Happy 50th Birthday LSO!Feb 7, 8pmSouthminster United Church
An Evening of Chamber OperaFeb 11 & 12, 8pmUniversity Recital Hall
The Seagull by Anton ChekhovFeb 15 -19, 8pmDavid Spinks Theatre
february
calendar of events
E m p r e s s T h e a t r e S o c i e t ye m p r e s s t h e a t r e . a b . c a
G a l t M u s e u m & A r c h i v e s g a l t m u s e u m . c o m
L e t h b r i d g e F o l k C l u bl f c . a b . c a
L e t h b r i d g e H a n d i c r a f t G u i l d o f W e a v e r s , L e t h b r i d g e A r t i s t C l u b , T e x t i l e S u r f a c e D e s i g n G u i l d , O l d m a n R i v e r P o t t e r s G u i l d & C h i n o o k W o o d t u r n i n g G u i l d 4 0 3 . 3 2 0 . 5 7 7 1
L e t h b r i d g e S y m p h o n y O r c h e s t r al e t h b r i d g e s y m p h o n y . o r g
M u e l l e r A r t G a l l e r ys t u a r t m u e l l e r . c o m
N e w W e s t T h e a t r e4 0 3 . 3 2 9 . 7 3 2 8
O l d m a n R i v e r P o t t e r s G u i l d4 0 3 . 3 2 9 . 3 9 3 6
P l a y g o e r s o f L e t h b r i d g e4 0 3 . 3 2 7 . 1 9 4 7
S o u t h e r n A l b e r t a A r t G a l l e r ys a a g . c a
T r i a n o n G a l l e r y 4 0 3 . 3 8 1 . 8 8 8 8
U o f L A r t G a l l e r yu l e t h . c a / a r t g a l l e r y
U o f L F a c u l t y o f F i n e A r t su l e t h . c a / f i n e a r t s / e v e n t s
Contact information for each event/organization:
eventsjanuary
Tanya Plonka www.tanyaplonka.com mailto:[email protected] 403.892.3540
Photo by Tanya Plonka.