ACAD Catalyst Fall 2014

CatalystCatalystFALL 2014

art + craft + design in our community and beyond

ALBERTA COLLEGE OF ART + DESIGN

2 Catalyst ALBERTA COLLEGE OF ART + DESIGN

Board Chair Message 2

President’s Message 3

In the Community

ACAD Studio Artist in School Program 4

Public Design Program 5

Nuit Blanche 6

Stronger Than Stone: (Re)Inventing the Indigenous Monument 7

Molding the new generation – Our Faculty

The Art of Dress Up – Dee Fontans 8

Layers of Meaning – Martina Lantin 10

Life in Context – Diana Sherlock 12

Culture Shift – Julia Petrov 14

Planting Seeds for Success – Kyle Chow 16

The Power of Structure – Dennis Budgen 18

Work of Body – Heather Huston 20

Attached to Sustainable Design – Kerry Harmer 22

Creating change for tomorrow – Our Students

Nature, Tradition & Community – Tamara Himmelspach 24

The Promise of Connection – Emily Promise Allison 26

Transforming the world – Our Alumni

Educating Corrie – Corrie Hamm 28

Border Crossings – Sarah Nordean 30

United in Experience – Brittney Bear Hat 38

Playing His Long Game – Carson Long 40

Drawn to New York – Jillian and Lauren Tamaki 42

Truch Be Told – The Truch Family 44

Taking Manhattan – Debra Bishop 46

Tough Love – Jennifer Vallis 48

Critical Success – The Delichte Brothers 50

Reaping the rewards - Our Award Recipients

Speak the Truth – Tammy McGrath 52

No Voyage Home – Bev Tosh 54

A League of His Own – Jeff de Boer 56

A Wandering Talent – Elisabeth Belliveau 58

Nurturing art, growing creativity – Our Generous Partners

Spotlight: Enbridge Inc. 60

Spotlight: The Calgary Foundation 62

Spotlight: ACAD Squares 64

ACAD at a Glance 33

Board of Governors 65

ACAD Awards + Accomplishments 66

Andy Nichols Photography EDITORIAL PHOTOGRAPHY

Peter Giffen Vera Ilnyckyj

Alex Middleton Wayne Baerwaldt

WRITING

Vera Ilnyckyj Kara Tersen

EDITING

GOOD Company DESIGN

McAra Printing PRINTING

ALBERTA COLLEGE OF ART + DESIGN

1407 - 14 AVE NW CALGARY, ALBERTA CANADA

T2N 4R3

403.284.6238 ACAD.CA

CHARITABLE REGISTRATION NUMBER: 10669 2981 RR0001

COVER: JEFF DE BOER, DRAGON CAT, 2012, STEEL

1Catalyst ALBERTA COLLEGE OF ART + DESIGN

Year in Review

STUDENT SUPPORT• AcademicAdvisorhired

• StudentHandbookandStudentServicesDirectorydeveloped

• Strategyforraisingfundsforscholarshipsinitiated

• NewpaymentoptionusingAeroplancreditpointslaunched

• DegreeAuditsystemselected–tobeimplementedin2015

• FinancialAidandAwardsAdvisorpositioncreated

• Proposalcompletedforthedesignandbuildofa“CreativeCommons”–providingamodernlearningandcollaborativespace

FACULTY AND STAFF SUPPORT• Settlementsforcollectiveagreementsreached

DONOR PARTNERSHIPS• NewACADSquaresprogramestablished

ALUMNI RELATIONS• Strategyforalumnioutreachdeveloped,including

thecreationofnewawardsandscholarships

• Newagreementsignedforspecialalumniinsurancerates

• AlumniDiscoveryInitiativedeveloped-tobeimplementedin2015

COMMUNICATION AND COMMUNITY OUTREACH• Externalnewsletterdevelopedandlaunched

• CatalystMagazinedeliveredtoover8,000households

• Socialmediaengagementincreasedby100%

• SponsorshipsengagedwithSledIsland,TedX,CUFFandNuitBlanche

• 76+eventsplannedandorganizedwithcommunitygroups

• Newwebsitestarted-tobelaunchedinearly2015

• NewpartnershipscreatedwithAlbertaCulture,PerrenoudRanch,theCityofCalgary,theCityofAirdrie,C-Space,CalgaryArtsDevelopment

SUSTAINABILITY STRATEGIES

• ComprehensiveInstitutionalPlanwritten

• NewMFAprogramapproved–firstcohorttobeginin2016

• FundingproposalsunderwayforredevelopmentofMainMall

• Strategicplandevelopmentprocessapprovedtodealwithbudgetshortfalls

• Collegeprogramsalignedwiththeneedsofindustryforknowledgeworkers

• Signatureprojectsannounced-CentrefortheCreativeEntrepreneur,InstitutefortheCreativeProcess,DiversityCentreofExcellence,ContentCreation/FilmCentre,RuralEngagementPilotProjects

PRIORITY ONE: A STRONG ACADEMIC PLAN

• modernize,renewandalignthecurriculum

• reviewteachingandlearningenvironment

• identifynewandbetterwaystointegratestudentservices

PRIORITY TWO: A ROBUST ENROLLMENT GROWTH PLAN

• establishgrowththresholdsandnewprogramgrowth

PRIORITY THREE: A COMPREHENSIVE ENGAGEMENT STRATEGY

• communitystakeholders

• alllevelsofGovernment

• artsandculturalinterestgroups

• branding

PRIORITY FOUR:

A FINANCIAL PLAN

TO SUPPORT

SUSTAINABILITY

• growthrequiredtobesustainable

• fundingmodelreview(tuitionlevelsandgrants)

PRIORITY FIVE: A SOLID SHORT AND LONG-TERM FACILITIES PLAN

• implementationoflearningspacerenewalsandupgradesthataccommodates21stcenturylearningcapitalexpansion

The Sustainability Strategic Plan will deliver action plans in the following key areas:


OneofACAD’sstrategicgoalsisStewardshipandSustainability,challengingtheCollegeanditscollaboratorstoembraceprosperityobjectivesdesignedtobothmaketodaybetterandtoinspireanewenergywithintheinstitution.Prosperityinthiscontextreachesbeyondmonetarygainandisunderstoodthroughabroader,balancedandinterdependentlensthatmeasuresincrementalsuccessesaseconomicprosperity,socialprosperityandculturalprosperity.

ThisninthissueofCatalystfocusesonthesustainabilityoftheCollegeandhowwearebuildingthecapacitytocontinuetobeavitalcatalystinthecreativethinkingandenergyofourCity,ourProvinceandglobally.Wehavean88-yearhistoryofsuccessandtheprofileswithinthismagazinetellthestoryofhowartistsanddesignersshapeourcommunities,provideinnovationintoday’sknowledgeeconomy,andcreatecontentthatinfluencestheworldaroundus.

IamverypleasedtohavebeengivenamandatetoleadtheBoardduringthispointintheCollege’shistory.Wehaveanexcitingfutureandinviteyoutobeapartofthatfuture.

CarolRyderChair,BoardofGovernors

Board Chair Message


Welcome to our ninth annual Catalyst: Report to the Community.

Weoftentalkabout“What”wedotohelpourstudentsrealizetheirpotentialinart,craftanddesign–mostnotablyprovidethelearningtoolsandthedisciplineofpracticeforourstudents.Whatisoftenmoredifficulttoarticulate,isthe“Why”ACADexists.WhatisourinstitutionalimpactontheAlbertalandscapeandwhatistheimpactourgraduateshaveontheeconomic,socialandculturalprosperityoftheProvince?

Thereisnodoubtthatourstudents,faculty,staffandalumnihavepositivelyandsignificantlyimpactedissuesrelatedtowellbeing,corporateinnovation,effectivecommunication,enhancementofpublicspaces,andeducation.Wehavefirst-handevidence,asyouwillseewhenyoureadthroughtheinspiringstoriesinthepagesofthismagazine,thatbyembracingthecreativitythatisallaroundus,wewilllivericherandmorerewardinglives.

Wechallengeyoutoexplorethecreativitythatisinyouandaroundyou,makingtheconnectionbetweenhowtheexperienceofartanddesignismakingyourlife,andtheworldallaroundusbetter.

Dr.DanielDozPresident+CEO

President’s Message


In the Community

TheACADStudioArtistinSchool(SAIS)Programisaone-of-a-kindpartnershipwiththeCalgaryBoardofEducation(CBE)that

promotesartsfacilitatedlearning,augmentsstudentlearningandengagement,andexemplifiestheintegratedandinterdisciplinaryfutureofartseducationinAlberta.TheinitiativeplacesrecentACADgraduatesasStudioArtistsintoschoolsthroughoutCalgary.

Theprogramhasbeenahugesuccess,generatingsubstantialbenefitsfortheschoolsandstudioartistsincluding:

• enhancementoftheschools’capacitytoincorporateartanddesignactivityintocurriculumlearningandextracurricularpursuits

• studioshavebecomegatheringplacesfordiscussion,criticalthinkingandthegenerationofnewideas

• art-basedactivities(e.g.,visualart,music,danceanddrama,photography,creativewriting)providestudentswithanalternativewaytoengagewithcorecurriculumsubjects(Science,Math,EnglishandSocialStudies),emphasizinghands-oninquiry,exploration,experimentation,communication,reflectionandpersonalengagementthroughartisticmedia

• art-makingfostersskillsincriticalthinking,problem-solving,creativeinnovation,digitalandtechnologicalfluency,collaborationandleadership

• providesrecentACADalumniwithvaluablepost-graduateemployment,realworldexperience,andachancetodevelopnotonlytheircreativepracticebuttheirteachingandfacilitationskills

Studioartistsarehand-selectedforparticipationintheSAISprogrambyACADandCBEfromthepoolofrecentACADgraduates.Artistsarefinanciallysupported(viahonorarium)andinsuredbytheCollege,andenjoycontinuedaccesstoACADfacilities.Severaloftheartistshavenotedthattheexperiencehasgiventhemanunprecedentedopportunitytointeractwiththecommunityinnewways,topresenttheirworkinnewvenuesandtoreceivefeedbackfromabroaderaudience.

Perhapsthestudentssumitupbest:

Student: “She (the artist) has a lot of great ideas, great big crazy ideas. She makes things happen...I like to go where she’s working to watch her work...She helps me be more creative and she inspires me. She’s a big role model. It feeds our minds and makes us want to do crazy things too.”

Student: “I’ve let my creative juices flow more. I notice myself having more ideas and I’m opening myself to letting those ideas in. I was more enclosed before. There was like something in front of me saying, “don’t go there.” Now I notice myself going there. It’s a gift.”

TosupporttheACADStudioinSchoolsProgrampleaseemaildonations@acad.caorcall403-284-6238.

ACAD STUDIO ARTIST IN SCHOOL PROGRAM

Building Bridges, Promoting Creativity

Photos courtesy of ACAD


PUBLIC DESIGN PROGRAM

Formorethan20years,ACAD’sPublicDesignProgramhasworkedwithnot-for-profitclientsfromacrosstheprovince.OrganizationsrangingfromtheAlbertaChildren’sHospital,theCanadianRedCrossandtheCalgaryBoardofEducationhavebenefitedfromtheworkofagenerationofCommunicationDesignstudents.

OriginallyinspiredbythepracticumprojectattheSchoolofVisualArtsinNewYork,ACAD’sPublicDesignProgrampairsfourth-yearstudentsfromtheSchoolofCommunicationDesignwithclientswhoapplytoparticipate,andhavebeenapprovedby,courseinstructors.Studentsgetrealclientsandclientsgethigh-qualitydesigncommunicationsforafeeof$500.00perstudent.

“Theprogramgivesstudentsvaluableclient-relationexperience,”explainsIanFitzgerald,ACADfacultymemberandoneofthedrivingforcesbehindtheprogram.“Thechosenorganizationsgainafreshperspectivefromstudentswithnearprofessionalskilllevelswhilecontributingtoaveryworthwhileeducationexperiencethatisallwrappedupinacost-effectivepackage.”

StudentMeghanFenske,whohasbeenworkingonacampaignwiththeAlbertaCivilLibertiesResearchCentreagrees.

“ThePublicDesignProgramhasbeenanenrichingexperiencebecauseithasgivenmetheopportunitytoworkwithrealclientswhilehavingguidancefrommyinstructorwhoisaprofessionalinthefield.”

“WithwhatI’velearned,Ifeelconfidentinworkingwithclientsinthefuture.”

Partofthesuccessoftheprogramisdrivenbythefactthatitgivesstudentspracticalexperienceinachievingsolutionstoactualcreativecommunicationandgraphicdesignproblemswhileprovidingcharitablearts,service,community,environmentalandnot-for-profitorganizationsthebenefitofqualitydesignassistanceatareasonableprice.

Young,energeticandtalentedstudentsareassignedtoworkcloselywithorganizationsontheirproject.Facultyinstructorsoverseetheprocesstoensurequalityworkiscreated,andthatdeadlinesandbudgetsaremet.Thisisapracticumexperienceforstudents.Thecoursehelpsthemtodevelopprofessionalismbyusingbusinessandinterpersonalskillswithclients,fellowstudents,instructors,printersandothersuppliers.

FormoreinformationonACAD’sPublicDesignProgrampleasevisitacadpublicdesign.ca.

Alberta Civil Liberties Research Centre, poster designed by Meghan Fenske, student in the Public Design Program, ACAD


NuitBlancheCalgaryisalatenightinteractiveartfestivalthatoriginatedinFranceandhasquicklyspreadtootherpartsoftheglobe.Thecontemporaryartsfestivalbringspeopletogether“enmasse”foralarge-scale,onenightonly,unique,andimmersiveartexperience.ACAD’sIllingworthKerrGallerywasthrilledtoonceagainbeaproducingpartnerofNuitBlancheCalgarythispastSeptember.

“Wehadwellover15,000peopleattendthe2014event,comparedto10,000peopleatthe2012event”,saysACADAlumKrisWeinmann,EventManagerforNuitBlancheCalgary.“Itssorewardingtobepartofsomethingthatisbeingembracedbythecommunity,andnotjustbyartists,butbyabroadercommunityofCalgarianswhowanttoparticipatein,andbepartof,thegrowingartssceneintheircity.”

NuitBlancheCalgary2014wasthefollowuptotheawe-inspiringandinauguralevent,NBC2012.Thefirsteventsawanaudienceofover10,000peopleoverthecourseofthenightandattractedinternationalattentionthroughitssixinspiringperformanceartprojects.NBC2014sawnewliveartworksbyvisitingandAlberta-basedperformanceartiststhatinspiredanddelightedtheall-agesaudienceonSeptember20,2014.

Thisyear,ACADanditsartgallery,theIllingworthKerrGalleryandtheotherco-producersofNBC2014,increasedcollaborationwithdowntownculturalinstitutionsandbusinesses,aswellasexpandedthenumberofperformanceartprojectsthataudiencesexperiencedattheMunicipalandOlympicPlazasindowntownCalgary.Thecity’sdowntowncamealivewithunforgettableliveperformanceartproducedbyfantasticartistsandstudentvolunteersdoingremarkable,uniqueinstallations.ACADalumniWednesdayLupypciw,SarahSmalikandNatashaAlphonseallproducedsignificantnewworksforNBC2014.

NBChasreceivedaccoladesfromCalgary’sMayorNaheedNenshi(whoparticipatedagainthisyear),CalgaryArtsDevelopment,Calgary2012,TheCalgaryHerald,andreceivedaVitalityAwardfromDowntownCalgary.Artworksco-producedbyNBChavegoneontotourinternationally,provingonceagainthatthroughcollaborativepartnerships,ACADcan,andis,makingasignificantimpactontheculturalfabricofourcity,ournation,andbeyond.

Symphony for Absent WIldlife by Studio Orta, Photo by Gerry Straathof

NUIT BLANCHE

A collaborative local twist on an international arts phenomenon

In the CommunityBuilding Bridges, Promoting Creativity


CommunitiestodayextendfarbeyondtraditionalboundariesandACADisengagingtheglobalartscommunitybydiscoveringuniquewaystocontributetocommunity-basedculturalwell-beingthatcan,onoccasion,leadtheinternationaldiscourseonartmaking.ThanksinparttograntsfromSuncor,theAlbertaFoundationfortheArtsandtheCalgaryFoundation,ACADanditsgallery,theIllingworthKerrGallerywereabletoparticipateinaconceptuallyground-breakingfour-daysymposiumthattookplaceintwocitiesinAlbertaandSaskatchewan(readmoreabouttheCalgaryFoundationanditssupportofACADonpage62).ItisthefirsttimethatACADhascollaboratedwithinterprovincialculturalandeducationalinstitutionstobringahighlyinclusivesymposiumtomultipleaudiences.

WithACAD’sIllingworthKerrGallerytakingtheleadfortheCollege,Stronger Than Stone:(Re)Inventing the Indigenous Monument,broughttogetherworld-renownedIndigenousandnon-Indigenousspeakerstoengageinpanelpresentations,performances,andinformalpublicdialogueabout

landformsasmonuments,thepoweroflanguage,memory,andthecreationofpublicsitestorepresentrecordedhistories.Theintentofthesymposiumwastocreateathought-provokingresourceofdiverseperspectivesonIndigenousmonumentsandanti-monumentsthatwouldinturninformartists,designers,curators,museumdirectors,publicartcommissioners,urbanplanners,architects,academics,policymakers,educatorsandothersworkingtoempowerIndigenousculturesacrossCanadaandinternationally.

“Stronger Than Stone:…”wasasymposiumthatgaveunprecedenteddepthandrangetotheideaspresentedbyoverthirtyparticipants.AsmuchasACADisextendingitscommunitybeyonditsphysicalboundaries,theoutcomesofthesymposiumextendedbeyondtheartworld-tothefieldsofurbanplanning,geography,education,andarchitecture,amongothers.Outcomesestablishedmodelsforthecommissioningandproductionofnew,“Indigenized”memorials.Peopleworkinginthesefieldswillbetterunderstandtheoftencomplicatedinterpretationandvisualrepresentation

ofcollectiveorculturalmemory,conflictingoralandwrittenhistories,andthehumaninterdependencewiththeland.

“Stronger Than Stone:…”broughtACADtogetherwithworld-renownedcreativesthroughtheCollege’suniquecollaborationwiththeMendelArtGallery,Museums3.0,KenderdineArtGallery/UniversityofSaskatchewan,andWanuskewinHeritagePark,Saskatoon.

“Co-producingeventsandexhibitionssuchas“Stronger Than Stone:…”harnessestheconnectionsandcreativityofthecollective,allowingustobringadeeperexperiencetoourstudentsandthepublicingeneral”,saysWayneBaerwaldt,Director/CuratoroftheIllingworthKerrGallery.

Itisthroughsynergiessuchastheonesdevelopedthrough“Stronger Than Stone:…”thatACADwillcontinuetostrengtheneducationalexperiences,growsupportfortheartsandculturalindustries,andprovidethepublicwithexemplarywaysforartandinnovativethinkingtobeavitalpartofthecommunity,locallyandglobally.

Jeff Thomas. Indian Man from Nepean Point. Samuel de Champlain monument, Ottawa, (1992). Gelatin silver print. Image courtesy the artist.

STRONGER THAN STONE: (RE)INVENTING THE INDIGENOUS MONUMENT

Extending beyond to

strengthen artistic ties

in the community


Dee Fontans

DeeFontans’passionforwearableartgoesbacktoherchildhood,growingupasaPuertoRicanAmericaninNewJersey.“Iwasaboutfiveandstarteddressingupinallkindsofcrazythings,puttingeverythingonmyhead,”sherecalls.

ThepassionenduredasshestudiedjewelleryandfashiondesignatNewYork’sParsonsTheNewSchoolforDesign,andthenreceivedherBFAdegreefromtheStateUniversityofNewYorkatNewPaltz.InherlastyearatNewPaltz,doingherjewelleryworkingoldandsilver,she

brokeherhandinapolishingmachine,makingitdifficulttocompleteherfinalwork.

Ratherthanbeingdiscouraged,Fontansrevealedanadaptability,ablithego-with-the-flowattitudethathasbecomehersignature.Shedecidedtoexplorealternativematerials,suchasrubber,paper,plasticgelsandevenfoods.Shestartedtousetheseforherfirstwearableartexhibitin1985,andhasbeendressingupsuccessfullyeversince.

FontanscametoCalgaryin1988,theyearofthecity’sWinterOlympics,andthetownwasquicklyenergizedbyher

whirlwindpresenceasshethrewherselfintothelocalartscommunity.ShemadeaconnectionwiththeAlbertaCollegeofArt+Design,whereapart-timegigteachinginExtendedStudiesseguedintoacontractsessionalposition,teachingintheJewellery+Metalsprogram,andtheWearableArtcourse.

Withcross-disciplinaryzeal,shehasbecomeacreativeforcetobereckonedwith,asajeweller,enamellist,performanceartist,fashiondesignerandevenapoet.Shetakesherroleas“culturalambassador”seriously(shewasnamedassuchwhenCalgary

THE ART OF DRESS UP

As a device to explore society, Dee Fontans uses the human form as subject

matter and canvas for her Wearable Art.

SCHOOL OF CRAFT + EMERGING MEDIA

Molding the new generation Our Faculty


becameCanada’s“culturalcapital”in2012),connectingtothepublicthroughexhibits,televisionandsocialmediatocreateengagement.

FontansproducesartworkunderthetitleofOutingTheBody,whoserelatedpiecesfusetogetherjewellery,fashionandperformanceart,investigatingtherelationshipsbetweentheart,wearerandaudience.Shehasorganizedart-fashionperformancesatArtCentralandArtGalleryofCalgaryandtheEPCORCentreforthePerformingArts.Andin2000,shepartneredwithagroupofACADstudentstoproducethefirstArtWEARness,“across-disciplinarywearableartexhibitioninmotion.”

ArtWEARnesshasbeenruneveryyearsince,typicallyviewedbyaudiencesofmorethan800.

Asaneducator,Fontanshastakenhercreativespirit,driveandexperienceintotheclassroomtoinspireandengagestudents.“Iwanttonurturetheircreativespirits,”shesays.“Iletthestudentsdowhattheyneedtodoandguidethemonthatjourney.Ibelieveinhelpingtocreatepeakperformers—peoplewhodoabsolutelythebesttheycanwiththeskillstheyhave.”

Whilebecomingapeakperformerdoesn’tnecessarilyguaranteestudentswillmakeacareerofart,shepointsoutthatthiskindofeducationprepares

them“forabetter,moreenlightenedlife.Whattheydevelopasartistscanbeeasilytransferredintootherareasoftheirlives.”

Whenitcomestoherownpractice,Fontanshasnoshortageofideas,transformingobjectsandobsessionsfromherordinarylifeintowearableart.SheisworkingonexpandingherPumpingFashionseries,aimedatthosewitha“bikefaddish”andapenchantfor“ridingontheedge.”Sheturnsbikepartsintoeco-friendlygarb,suchasinner-tubebracelets,sprocketnecklaces,inner-tubegarmentsanda“fascinatorwithlights.”

Top left: Pumping Fashion Martini, 2013, made from up-cycled bike parts–inner tubes, sprockets, chain, stainless steel. Photo: Joe Kelly

Top centre: Bike Love, from the Pumping Fashion series made with rose quartz and silver. Photo: Joe Kelly

Right: Sprocket, from the Pumping Fashion series made with blue agate, brass chain + sprocket. Photo: Joe Kelly

Bottom left: Tea Set, from the Wearable Edible series made from tea bags, silver, and magnets. Photo: Charles Lewton-Brain


SCHOOL OF CRAFT + EMERGING MEDIA


ForMartinaLantin,creatingearthenwarepotteryisa“continualprocessofcallandresponse.”Astheartistmakespotteryshetries“tomaintainastateofmindfulnessandactivemaking.”

Theresultisa“handmadeobjectthatstepsoutsidetheordinary,whileremainingautilitarianobject.Ihopeitgivestheuserpauseandtheopportunitytoseetheirsurroundingsmoredistinctly,”saysLantin,“andthatitwillencouragethemtoexplorefurther.Perhapsitsformwillcatchtheireyeayearlaterorfiveyearslater,justbecauseofthewaylightishittingitatthatmoment.”

Thereisagoodchanceitwill,asLantinhasbeenperfectinghercraftoverthelast20-plusyears,combiningtraditionaltechniquesandmaterialswithtoday’smoderntechnologyandaccesstoinformation.Herworkfallsintotwostreams.

Oneisthemakingoffunctionalobjectsthatcaneasilybeintegratedintoobjectsinthehome.Theotherisherinstallationwork,wheresheharnessesherresearchintothehistoryofceramicsandbringsthatforwardintoa21stcenturycontext.

Lantin’seducationandcareerthusfarhasbeenasfluidashertechniqueonthepotter’swheel.Afterstudyingceramics,sculptureandearlyRenaissancearthistoryattheStudioArtCenterInternationalinFlorence,theMontrealnativewentontogetherBachelorofArtfromEarlhamCollegeinRichmond,Indiana,didpost-baccalaureatestudyatEUCSYDinDenmarkandreceivedherMasterofFineArt–CraftfromNSCADUniversity.

Duringherearlycareer,Lantinfoundherselfwithoutaccesstowoodkilns,theatmospherichigh-temperaturekilnsthat

Martina LantinLAYERS OF MEANING

Martina Lantin uses a multilayered process to impart surface beauty

and tell a successive narrative on her asymmetrical earthenware art.

Photo location: Junktiques Ltd.


hadbeenthecentralfocusofherpractice.Soshebegantoconcentrateonearthenware,amore‘portable’mediumoftenfiredinelectrickilns.Themoresheexplored,themoreshefellinlovewiththefine-grainedrichnessofwhatshecalls“chocolateporcelain.”

“Withotherfiringtechniquesthecolouroftenexistsintheglazeandthatglazesitsontopoftheclay,”sheexplains.“WithearthenwareIwasreallyinterestedinhowthesurfaceoftheactualmaterialscaninteract.Inowusemultiplelayersofslips[liquidclays]andglazestointegratewithintheclaylayer.Throughthesematerials,asuccessivenarrativeisbuiltonthesurfaces.”

Earlierthisyear,LantinstartedteachingawiderangeofceramicscoursesatACAD.Beginningwiththeintroductorycourses,shetriestomakethelessonslessaboutrulestofollow

andmoreaboutgivingthestudentsachancetoexplorethroughplayandfindnew,individualizedresolutions.

Lantin’sownworkinprogresscontinuestoincorporateplayandexploration.SheisworkingwithaU.S.arthistoriantoturninvestigationsofearlyOttomanarchitecturaltilesintostudiorecreations.SheisalsopreparingforanexhibitofherworkatACADinthespring.

Lantinwantstoimparttoherstudents“anattentivesenseofadventure,”backedbyastrongworkethic,tocarrythemthroughthetimestheymayfeeldoubtabouttheircreativepaths.“Ifsomeoneisdiscouraged,Itellthemthattheyneedtofollowtheirheart,”shesays.“Youhavetostaytruetowhatfeedsyouasanindividualandfindawaytomakethatwork.It’squestionofsustainability.What’ssustainableforyouasanindividual,intermsofyourlifechoices?”


Diana Sherlock

LIFE IN CONTEXT

Diana Sherlock believes in turning students into independent and creative

thinkers, so they are prepared for a fast-changing and challenging world.

DianaSherlockisdedicatedtohelpingstudentslivetheirlivesandcareersin“context.”“That’swhatarttheoryandarthistorydo,”saystheinstructorintheAlbertaCollegeofArt+Design’sCritical+CreativeStudiesDepartment.“Theyallowustothinkaboutwhatwedoinabroadercontextandtodevelopvocabularysoweareabletoarticulatewhatwemakeandwhywemakeit.”

ToputSherlock’sownprofessionallifeintocontext,shegraduatedfromthearthistoryandstudioprogramsattheUniversityofCalgaryinthemid-1990s

andwentontoexhibitherinstallationart.Butherinvolvementinartist-runcultureledtoagrowinginterestincuratorialpracticeandvisualartscriticism,writingforavarietyofartpublicationsandexhibitioncatalogues.

Sherlockhasservedonseveralartist-runcentresandcommunityartsboards,ofteninthecapacityofprogrammingcoordinatoranddirector.Asafreelancecurator,shehasproducedexhibitionswithStrideGallery,Calgaryandco-curatedtheAlbertaBiennialofContemporaryArt2002fortheEdmontonArtGallery(nowtheArt

GalleryofAlberta).In2003,sheguestcuratedtheSuperModernWorldofBeautyexhibitionfortheBanffCentre’sWalterPhillipsGallery.

Andsince2001,shehastaughtatACAD,drawingonherexperienceinprofessionalartsadministrationandcuratorialpracticeforhercoursematerial.Sheoftenfocusesspecificallyondisplayculturesandmuseumandexhibitionpractices,whichexamine“howwepresentthingsandhowthatchangesoraffectsthemeaningsofthosethings.”


SCHOOL OF CRITICAL + CREATIVE STUDIES


SherlockbelievesthatwhatACADdoesbestistoturnstudentsintoindependentandcreativethinkers,anecessityinafast-changing,challengingworld.“We’renolongerinastableeconomicandpoliticalsituationwhereyoucangetajobthatlastsfor25yearsandretirewithapension,”sheexplains.“Allcareerpathstodayinvolverisk.Peoplehavetothinkquicklyandcreativelyontheirfeetandbeabletobringnewthingstothetable.Creativethinkers,thoughtheymaybemakingmaterialobjects,areprimarilyengagedinaknowledgeeconomy.Theyhelpbringcreativeanddiversesolutionstomanyoftheworld’sproblems.”

LikemostACADinstructors,Sherlockisabletostayrelevanttostudentsbecauseshestaysbusywithherownprofessionalpracticeasacuratorandcriticalwriter.SheiscurrentlycompletingacataloguefortheIn the MakingexhibitionshecuratedfortheIllingworthKerrGalleryatACADlastyear.Sheisalsopursuingresearchforaproject,whichexaminesthehistoryof,andconnectionsbetween,theWestGermanCeramicsindustryandtheceramicclayindustriesinSouthernAlbertaintheearlyandmid-20thcentury.

ForSherlockthevalueofanarteducationislessaboutthemonetaryrichesitmaybring,andmoreaboutitsintangibleinteriorvalues.

“Artandculturehelpustoleadfullerlives,”sheexplains.“Itcanmakeusmoreknowledgeable,richerhumanbeings,andourstudentswillbeabletocontributebacktosocietyandcultureinimportantwayswemightnotevenbeabletoidentifyyet.Theyhavethecapacitytodevelopnewmodels,newwaysoflivingandnewwaysofworking,andsomaytakeonchallengesthatseeminsurmountabletoothers.”



SCHOOL OF CRITICAL + CREATIVE STUDIES

Julia PetrovCULTURE SHIFT

Calgary is no longer just a base

for exploring the mountains. Julia

Petrov believes that a vibrant art

and culture scene is transforming

people’s experience of the city.

JuliaPetrovnoticedamarkedshiftintheculturalclimateofherhometown.ShehadreturnedtoCalgaryin2012,afterreceivingherMAinHistoryofDesignandMaterialCultureattheUniversityofBrighton,inEnglandandherPhDfromtheUniversityofLeicester.

“ThecityusedtobeaplacewhereIfeltlikeanoutsiderforvaluingthingslikecultureandart,”shesays.“ButInoticedthatmanyofmypeerswhohadgoneawaybecausetherewasnothingfortheminthecityhavebeguntocomeback,becausethingshavechanged.”

Sheadds:“NewartistsfindtheycanstayinCalgary,andthattheycanhaveasustainablefuture,intermsoffindinga

careerandanicheforthemselves.ACAD,withitsgraduates,hasreallyhelpedtofuelthisshift.”

PetrovpointsoutthatpeopleattractedtoCalgaryfortheeconomicboom,fromVancouver,Torontoandotherpartsofthecountry,bringwiththemexpectationsaboutfestivals,artgalleriesandotherthingstodoculturally.“Peoplehaveachoiceofplaceswheretheylive,”sheexplains.“Acityhastooffermorethangoodjobs.Therehastobethingsthatpeoplecandoontheiroffdays.”

Inheroffdays,Petrovismostlikelytobethinkingaboutfashionsdisplayedinglasscases.“I’mreallyinterestedinfashionandtheintersectionoffashionasanobjectinmuseums,”shesays.“Oncesomeonehasstoppedwearingsomethingandit’sinamuseum,howdoestheinstitutionteachaboutwhatitwasliketowearit?”

Thisisaquestionthatherstudentscananswer,sincePetrovhasservedasasessionalinstructorinAlbertaCollegeofArt+Design’sCriticalandCreativeStudiesDepartmentforthelasttwoyears.Sheteachesarthistory,visualculture,humanitiestheoryandmaterialculture.


Hercourseshelpstudentsfindtheirplaceinthelargerartuniverse,whetherit’sbydiscoveringtheyarepartofaheritageandtradition,orunderstandinghowdifferentphilosophicalapproachesandcriticaltheorieshelpthemtoseetheworldinnewways.

“Studentsincraftcoursesalsobenefitfromthis,”shesays.“Inmaterialculture,Ishowthemthedifferentwaysinwhichhumanbeingsinteractwiththematerialworldandthewaythatobjectscanhelpustounderstandcultureandsociety.Sowhentheyreturntotheirpractice,theycan,Ihope,usesomeoftheseapproachestounderstandthatobjectsarereallyimportantculturally,sociallyandeconomically.”

IfPetrovkeepsherstudentsimmersedinaworldofideas,it’sbecauseshekeepsherownideassharpthroughregularpublication.ShecontributedachaptertotherecentlypublishedFashioninMuseums(Bloomsbury)andhasanarticleduetoappearinthejournalofFashionStyleandPopularCulture.Shealsoplanstoreturntocuratingexhibits,assheusedtodofortheHumanEcologyClothingandTextileCollectioninEdmonton.

Inthemeantime,shenolongerfeelshesitantaboutinvitingfriendstovisitherinCalgary.“Itusedtobethatyouwouldstayinthecityatnightandleaveduringthedaytoseeotherstuff,likethemountains,”shesays.“Nowyoudon’thaveto.Weactuallyhavethingstodointown.”



SCHOOL OF COMMUNICATION DESIGN

Kyle ChowPLANTING SEEDS FOR SUCCESS

By cultivating the

hardy plant of design

thinking, Kyle Chow

has been able to do

high-level branding

work for a wide range

of clients and grow his

own business.

ForKyleChow,launchingasuccessfulbusinessisabouttakingtheseedofdesignthinking,plantingitearlyandtendingtoitpatiently.

“Frommypointofview,designeducationspeakstowaysofsolvingproblemsthat’sdifferentfromhow

otherpeopledoit,”saysthe31-year-olddesignerandeducator.“Youhavetoidentifywherethere’ssomethingmissingfortheuser.That’showIlaunchedmybusiness:IsawtherewasaneedandIusedmyexperienceasadesignertofulfillit.”

Theseedforhisbusiness,Plant,begantoforminMooseJaw,Saskatchewan,whereChowgrewup.Hebegantogreenhisthumbandhonehisbotanicalskillsworkinginalocalgardeningshopanddevelopinghisowngardeningplots.

AtthesametimehenurturedastrongcreativestreakbyswitchingfromhisinitialfocusinuniversityonbusinesstotakingadegreeincommunicationdesignattheAlbertaCollegeofArt+Design.WhiledoinghiscourseworkheagaintilledthesoilforfuturesuccessbystartingtododesignandbrandingworkforCombineDesign&Communications.

Aftergraduating,in2009,hebecameapartnerinCombineandreturnedtoACADayearlatertoteachcoursesintypographyanddesignfundamentals.Inhelpingtoguidestudentsthroughtheirdesignprograms,hebroughthisgardener’spatiencetobear.

“Istartwiththefundamentals,givingthembaseknowledge,sothere’snobreakingtherules,atfirst,”Chowexplains.“Inthesecondandthirdyearthere’smoreflexibility.Atthesametime,Iassesswhat’sgoingonintheworldofgraphicdesignandassociatedtechnologies,andadaptwhat’srelevanttoourprojects.


It’sallaboutbeingflexible,establishingthefundamentalsandthentailoringprojectsthataregoingtohelpwithreal-worldapplications.”

FlexibilitywasalsothekeytogrowingPlant.In2011,hestartedsellingtheterrariumshewascreating,drawingonhisgreenhouseexperienceanddesigneducation.Theyincludedhardylocalplantsandnaturalmaterials,makingthemperfectminiatureenvironmentsforthewinterbound.“Wespendagreatamountoftimeandenergywithinfourwalls,”saysChow,“andalivingenvironmentallowsustoexperiencetheoutdoorswheninside.”

Hecultivatedhisbusiness,amassinganimpressivecustomerlist,untilhecouldlaunchabricks-and-mortarstore.PlantopenedinMarch2014,offeringaselectionofterrariums,indoorgardeningandlandscapingsupplies,naturalartwork,functionalvintagegoodsandmuchmore.TodayChow’sbusinessisblossoming.

“Althoughitiseasytogetcaughtupinaesthetics,greatdesignthinkingisbuiltuponasolidstructure,formandexperience,”hesaysinaninterviewwithMarketCollective,whichpromotesCalgaryartsandculture.“ThesearesimilarprinciplesIapplywhencreatingeachterrarium.Theskillsarealsoveryhelpfulwhencreatingthemanypracticalmaterialsasmallbusinessneeds:branding,website,careinstructions,etc.”

Chowhasmanagedtofindwork-lifebalanceandsustainabilityintheirpurestform—wherepassionandprofessionalexpertisesupportandevolvewitheachother,intoahardyplantthatcansurviveinthechallengingAlbertaclimate.


THE POWER OF STRUCTURE

During his 30-plus years of teaching at ACAD, Dennis Budgen has helped

shape a program that feeds Alberta’s thriving design industry with talented,

ready-to-work graduates.

Dennis Budgen


SCHOOL OF COMMUNICATION DESIGN

DennisBudgenrecallsthepitchfromacollegerecruiterathisnorthernAlbertahighschoolinthe1970s.“Hesaid,‘Ifyouwanttopracticedesign,gototheAlbertaCollegeofArt.Ifyouwanttotalkaboutdesign,gotouniversity,”recallsBudgenwithalaugh,adding,“Thathasn’tchangedalltheseyearslater.”

HehimselfhasplayedamajorroleinensuringnotonlyareACADdesignersandillustratorshighlyemployable,theycanadaptandthriveinachangingindustry.Aftergraduatingfromthecollegein1979,hestudiedinNewYorkundersomeoftheworld’sbestillustrators.ReturningtoCalgary,hestartedatwo-prongedcareer,doinghisaward-winningnaturalhistoryillustrationsforawidevarietyofpublishingandinstitutionalclients,combinedwithteachingintheCommunicationDesignprogramofACAD.

“We’vespent30yearsbuildingthecomprehensivecurriculumwenowhave,”saysBudgen,pointingoutthatthestructured,progressiveapproachofadedicatedfour-yearcurriculumstandsinstarkcontrasttoastudenthaphazardlychoosingfromamenuofchoicesinauniversityliberalartsprogram.“Forexample,thefirstprojectastudentisassigned,inDrawing115,connectsandisrelevanttotheverylastprojectinfourthyearCharacterDesign.”

Withthisdedicatedfocus,ACADhassupplieddesigngraduatesthathavekeptCalgaryandAlberta’sgrowingdesignindustryflourishing,incompaniesrangingfromdigitalagencyCriticalMasstogamedeveloperBioWare.“TheimpactthatdesignersfromACADhavehadontheeconomyissignificant,”Budgeninsists.“Ouralumnihavecontributedbillionsofdollarstoit,inaprofessionthatisbothenvironmentallyfriendlyandsustainable.”

“Self ”, 2000. Photo: Dennis Budgen


BudgeninitiatedthestreamstructurefortheVisualCommunicationDesigncurriculum:firstbystartingtheillustrationstream.Hethenbuiltmostofthecurrentillustrationprogramandwithhiscolleaguescreatedthestructureforallthecurrentacademicstreams:graphicdesign,advertising,characterdesignandillustration.“Overtheyearsofdevelopingthestreams,weatonetimemademoreofaseparationbetweenillustrationanddesign,”hesays.“Butwefounditworksbesttocreateahybrid.Thebeststudentscanexcelatadvertising,graphicdesignorillustration—they’rejustgoodthinkers.”

Headds:“Ourgoalistopreparethestudentsfora30-to-40-yearcareerinthedesignindustry,givingthemthevisualandcriticalskillstoadapttothemarketplace.”

Aspartofadaptingthechangingconditionsofhislife,Budgenhasreducedhisfulltimeteachingload,sohecanconcentrateonthedemandsofhisownillustrationpractice.

Heisbuildinganewwebsiteforhimself,thoughwithtrepidation.Healreadyhasalltheworkhecanhandle,especiallywithhighdemandforhisinformationillustrations.

Amongmanyprojects,BudgeniscurrentlyillustratingabookonPacificsalmonandpreparingforanexhibit,inMarch2015,oflarge-scaleworksfromhisexpeditiontoEllesmereIsland.Fouryearsago,heaccompaniedtheGeologicalSurveyofCanadatotheircampbyCarlRitterBayonthenortherntipoftheisland.

Basedonhissketchbookdrawingsofwildlifeandlandscape,theexhibitworkinvolveslayeredimagesincharcoal.“Tome,thisprocessofcapturingthree-dimensionalformonalargetwo-dimensionalsurfacefeelssculptural,”saysBudgen.“Itrytoexpressnotonlythesubjectmatterbutalsotheintangibleelements,suchastheincessantwind,thebleaknessofwinterandthevastnessofthehumblingenvironment.”

Top: Carving, 1992, ink line + watercolour

Bottom: Only So, 2013, charcoal


Heather Huston

SCHOOL OF VISUAL ART


“Therearemanypathsyoucantaketosuccess,”saysHeatherHuston,whoteachesprintmaking,fibreartanddrawingatAlbertaCollegeofArt+Design.“InourSchoolofCraftandEmergingMedia,we’vegivenalotofthoughtabouthowwecanprovidestudentswithmultiplemodelsforsuccesswithanartsdegree.”

Toaccomplishthis,especiallyinapragmatic,bottom-lineagethatdoesn’tnecessarilyencouragecareersinthearts,theschoolistappingintoitsvastpoolofalumniandtheirwide-rangingexperiences,whetheritismakingcraftsandsellingthemthroughonlineshopsorcraftshows,orworkingasafreelancedesignerorillustrator,orswitchingtoarelatedcreativefieldlikemusic,ortakingadayjobtosupporttheir“artaddiction.”

“Manyofour[former]studentsarehappyandengagedinacreativeindustryandstillmakingart.Ithinkthat’sagooddefinitionofsuccess,”shesaysoftheiradmirablework-lifebalance.

Herowncareercouldserveasonemodelforsuccess.AfterreceivingaBFAfromtheUniversityofCalgaryandanMFAfromtheUniversityofAlberta,Hustonhasdevelopedavibrantpractice,creatingprintsandsculptures,manyofwhichfindmeaningintheeveryday,includinginterestingstructuresabstractedfromcookie-cutterneighbourhoods.

Showingwidelyinsolo,groupandjuriedshowsinCanadaandabroad,Hustonhasthrownherselfwiththesamegustointoherteaching,

WORK OF BODY

Through her art and

teaching, Heather

Huston explores how

to find the right work-

life balance and to

cope with the physical

challenges thrown at

us by life.


joiningACADin2007,afterteachingprintmaking,drawingandfundamentalcoursesatheralmamaters.Sheisadamantthatoneofthemostimportantthingsherstudentscanaccomplishistobe“awareofdifferentmodesofthinking,”deepeningtheirunderstandingoflifeandart.

“Whatwedoisnotlimitedtocreatingprettythings,”shesays.“Beyondtheaestheticsanarteducationcreatesa‘thinkingeconomy.’Youlearntoanalyzethings,asktherightquestions,howtopresentyourartworkanddefendit,andhowtogiveandreceiveconstructivecriticism.Theseareportableskills,nomatterwhatyouwindupdoing.”

Hustonalsoemphasizesthatartistperspectiveprovidesavaluablelensforlookingatandunderstandingtheworld.Inherowncase,sheusesittocreateabodyofworkabouthowthebodysometimesdoesn’twork.

Copingwithadoublewhammyofmultiplesclerosisandinflammatoryarthritis,sheexploresherconditionsthroughThe Body, Stranger series.

“Mineisavoicethatgivesanexperienceofchronicillness,talkingaboutlivingwithitandmovingthroughtheworld,”saysHuston.“Wefeellikeourbodyisourown.Butwhathappenswhenitisn’tdoingthethingsyouwant,whenyourbodyisn’tyour

own?Thisworkexploresvulnerabilityandhumanness,providingavoiceforakindofexperiencethatmaybenewtopeople.Ortheymayrelatetoitbecausetheyaresufferingthemselvesorknowsomeoneelsewhois.”

Hustonhopestogrowthisbodyofsilkscreen,andetchingandChine-colléprintswithmoreinvolvedandlargerartworks,bringingoutdifferentaspectsofthephysicalandmentalchallengesofillness.

Asshedoes,shewilldelvedeeperintothekindofartisticsuccessthatreallymatters.


Kerry HarmerATTACHED TO SUSTAINABLE DESIGN

Kerry Harmer advocates that designers explore

the sweet spot of opportunity where sustainability

and consumer demand intersect.

Thekeytosustainabledesignis“attachment.”Ifyoudesignadurableproductthatpeoplevalue,thentheywillkeepitlongeranditislesslikelytojointhemass-produceddreckchokingourlandfills.

“Attachment”figuresprominentlyinthetheoriesofproductdesignerandAlbertaCollegeofArt+DesigninstructorKerryHarmer.“Mypracticeisframedwithintheseideasofsustainabilityandexploringhowpeoplegetattachedtotheirobjects,”sheexplains.“Whenpeopletalkaboutobjectstheyareattachedto,theyareoftentalkingaboutthingsthatthey’vealwayshad,orhadformorethan20years.”

Designersneedtoexplorethesweetspotofopportunitywheresustainabilityandconsumerdemandintersect.Iftheycancreatewell-madeproducts,withenvironmentallyfriendlymaterialsandprocesses,then“peoplewillbecomeemotionallyattachedtotheobjectsandkeepthemlonger,sotheyarenotsotransient.”

Harmerherselfhassustainedinterestincreatingproductsoflong-termvaluethroughouthereducationandcareer.Followingastintinthemusicbusiness




intheUnitedKingdomandCanada,shehasalistofacademiccredentialsthatincludesaBFAfromConcordiaandaMastersofIndustrialDesignfromtheUniversityofAlberta.

AtACADHarmerteaches3Dobjectdesign,variousdesignconceptandfundamentalscoursestonon-designmajors,aswellassustainabilitythroughresearch-drivencreativeprojects.Shestressesitisagreattimetobeinvolvedinthefield,as“designthinking”hasbecomethedarlingofbusiness,medicine,educationandotherprofessions.

“Ithinkothersarebeginningtounderstandwhatdesignersactuallydobeyondmakingthingsorcreatingimages,”shesays.“That’sthevalueIreallytrytoinstillinstudents,thatdesignthinkingskillswillbebeneficialtoyouwhereveryougointheworld.Itrytogetstudentstousetheirdesignskillstothinkaboutentrepreneurshipandwheretheywillgoaftertheireducation.”

Thevaluethatdesignbrings,fuelledbythedemocratizationofnewtechnologies,suchas3Dprinting,hashelpedtogivelifetothe“makermovement,”wherecreatorsandmanufacturersbandtogetherinlocalco-opspacestocreatethingsthatoftenhaveacraftappeal.

“Peoplearegettingreallyexcitedaboutbeingmakersagain,”saysHarmer.“Ithinkthattiesbacktosustainabilityandlocalproduction.Wecanseethesereferencepointstocraftandhoweconomiesexisted100yearsago.Iseethisasawaytocreatenew,emergentandmoresustainableeconomies”

Inherownpractice,sheisdesigningfurniture,fashionsandotherproducts,throughKerryHarmerDesign,thatsheisplanningtoputintosmall-scaleproduction.Sheisespeciallyinterestedindevelopingalineofchildren’sproducts,suchaslamps,hooks,racksandheightmeasures.

“InsteadofthejuvenileDisneymotifsoftenusedinchildren’sfurnishings,”shesays,“Iworkwithmorelocalizedandmeaningfuliconographythatwillencourageattachmentratherthancreatethrowawayproducts.Theideaisthattheseobjectscantranscendchildhoodandalsobeusedinadultlife.”




Tamara Himmelspach

A3Dexplorationofidentityandhistory;naturerevealedthroughthegardenofinterests,andmaterialsusedinwork—thesearesomeofTamaraHimmelspach’spreoccupationsasanartist.

“Rightnow,lookingbacktotradition,andbringingthisintoacontemporarycontext,isreallyinfluencingmypractice,”saysthe21-year-oldsculpturemajor.“Myworkisverysociallyandcommunallybased.There’sadialoguebetweennatureandtradition.Ienjoyworkingwithintherealmofsemiotics.”

Himmelspach’sdesiretoexploreherfamilyhistoryandherownidentitythroughartwasgivenaboostattheendofhighschool,inLloydminster,Saskatchewan.ShedecidedtotraveltoGermany,whereherfather’sfamilycamefrom,andstaywithaverycreativehostfamily.“Livingtherereinforced

theideaIshouldgotoartschool,”sherecalls,“andthatIwouldbehappierinaplacewhereIcouldletmycreativeexpressionsflow.”

Thenewfoundinterestinherfather’sancestryalsosparkedadesiretoexplorehermother’sCreeaboriginalroots.HimmelspachbroughtthetwindesireswithhertotheAlbertaCollegeofArt+Designfouryearsago.Herloveofcommunityisoneofthereasonssheeventuallydecidedtofocusonthesculpturedepartment,withthestrongbondsbetweenstudentsandfaculty.

Withtheencouragementoffacultyandfellowstudents,shedecidedtomakeconnectionsoutsidehercircleintothewidercommunity.Earlierthisyear,Himmelspachtooktheleadwithagroupofstudentsindevelopinganunderutilizedsectionofthecollegegroundsintoavibrantcommunity

NATURE, TRADITION & COMMUNITY

Sculpture major Tamara Himmelspach uses her practice and passions to

explore her roots and make connections to the wider world.

Creating change for tomorrow Our Students



garden.Ityieldedaharvestofpeppers,lettuce,spinach,kale,Swisschard,cucumber,carrots,beans,beets,strawberries,garlicandmanyherbs.Growingthegardensignalledthedevelopmentofthestudentsaswell,intomature,politicallyandculturallyawareadults.

Notonlydidthegardenprovideaspacetoupliftthespiritsofstudentsandothervisitors,itputHimmelspachintocontactwithbusinessownersandresidentsinnearbyKensington.“Itwasnicetotalktofellowgardenersandtheotherpeopleintheareawhoareinterestedinwhatyouaredoing,”shesays.“You’reswappingknowledgeandstories,andperhapsinspiringotherstomaketheirowngardens.”

Atthesametime,HimmelspachhasbeenactiveinACAD’saboriginalcommunity,takingtheleadagaininbuildingupitslongdormantresourcecentre,makingmusic,

documentaries,storiesandmoreavailabletotheschool’saboriginalstudents.

AlthoughsheisgraduatingattheendofApril,shevowstokeeponworkingonthegarden,makingsurethatotherstudentswillkeepitgoing,includingthepartofthegardenusedasagalleryspaceforstudentwork.Shealsowantstoensurethattheresourcecentrecontinuestogrowforupcominggenerationsofstudents.

AsHimmelspachlooksaheadtolifeafterschool,sheisn’tworriedabouttheprospectofworkingtokeepherartpracticegoing.“Nomatterwhereyouareandwhatyou’redoing,youcanfindinspiration,whetherit’sthepeopleyoutalktoorarayoflightcomingthroughthewindow,”shesays.“Onceyou’reinthatframeofmind,you’realwaysanartist.”


Creating change for tomorrow Our Students

THE PROMISE OF CONNECTION

Respecting the intelligence of her audiences, sculpture student Emily

Promise Allison creates multidisciplinary work that is challenging but

approachable, with many points of access.

Emily Promise Allison

“I was off to see [ACAD] art student Emily Promise Allison’s exhibit. Rather than a physical exhibit, Allison took the stage that night, dancing with countless audience members—how much more interactive can a performance get? She created an outdoor night scene, complete with fake snow and a throne to give the night a truly ethereal feel, as she took on a princess-like look. I stood curiously contemplating what entrancing conversations she was quietly having with each successive dance partner as they waltzed on with her, mesmerized.”

—SarenaDharshi,“ALookBackatMyFavouriteCalgary2012Event—NuitBlanche,”HuffingtonPost.

Recallinghereight-hourMy Mother Calls Me a RabbitperformanceatNuitBlanche,Allison,inthefourthyearofthesculptureprogramattheAlbertaCollegeofArt+Design,says:“Iwasenergizedbythisexperience.Iwasfascinatedbyhowvulnerablepeoplemadethemselvestomeaswedanced.”

Findingimaginativewaystoconnecthasbeenathemeinthe26-year-oldperformanceartist/sculptor/

photographer/children’spedagogue’slife.GrowingupintheruralAlbertantownofPenhold,Allisonwouldperformforherpets,wieldabatontocomposemusicinthunderstormsandwriteshortstories,imaginingafutureasauthor“EmilyPromiseMarthaVeronicaAllisonfromPenhold.”Shewouldofcoursebeholdingapenonherbooks’dustjackets.

Followingtimespentstudyingtheatreandactinginperformances,AllisondecidedtowriteadifferentcreativefutureforherselfandenteredACAD

Photo location: The Calgary Zoo



in2010.Lastyear,shewasacceptedforanexchangeprogramattheGlasgowSchoolofArtinScotland,whereshewasabletoindulgeherpassionforothercultures.“Icompletedaself-directedprojecttherecalledMiniature Monuments,”sherecalls.“AseriesoffivemonumentswerepermanentlyinstalledaroundGlasgowbasedonstoriesIgatheredfromcitizensaboutpeoplefromtheirpast,whodeservedrecognition.”

Whatconnectshermultidisciplinarypracticeisastrongbeliefinthehumanimagination,respectingtheintelligenceofaudiencesby“creatingworkthatisintellectuallychallengingbutalsoapproachable,withmanypointsofaccess.”

Thisadmirableambition,aswellashereducationalaspirations,wererecognizedrecentlywhenorganizersinformedAllisonthatsheisthe2014recipientoftheQueen’sGoldenJubileeScholarshipfortheVisualArts.The$5,000annualscholarshipisbestowedona“youngAlbertavisualartistwhoshowsextraordinarytalentandpotentialandwhodemonstratescleareducationalortraininggoals.”

AsshelookstolifeaftergraduationnextApril,Allisoncertainlydoeshavecleargoalsinplace.SheisplanningtotraveltoP.E.I.,NewOrleans,Belgiumandelsewheretoshowherwork,givelecturesanddoperformanceart.“Ialsowanttocontinuemyeducationineducation,”shesays.“Mypassionis

teachingchildren,whichIhavebeendoingforsevenyears.Iwanttodothisfulltime,developingaspecializedcurriculumbasedonintensiveresearch,usingelementsofvisualartandperformanceartaseducationalmodels.”

Withherpractice,Allisonhasstayedtruetoherchildhooddesiretobecomeacommunicator.“Formeartisimportantbecauseofitsabilitytocommunicatewithoutlanguage,andinthiswayitbecomesauniversaltongue,”shesays.“IfIweretohaveanysuperpower,itwouldbetospeakanylanguage.PerhapsI’malreadydoingthissubconsciouslybybeinganartist.”


Corrie Hamm

GrowinguponanacreagejustwestofCarstairs,Alberta,CorrieHammwrestledwhethersheshouldpursueacareerinartoreducation.Shefinallybowedtothe“safeassumption,”pursuingthe“moreso-calledsecurerouteofteaching,”gettingaBAandthenaBachelorofEducationfromtheUniversityofCalgary.

Aftereightyearsofteachingshedecidedthatthepathnottravelledwastheoneshereallywantedtopursue.HammenteredtheAlbertaCollegeofArt+Designin2009.Althoughshestartedstudyingdesign,shesoonsawthatherabilitiesandinterestslay

elsewhere.“Iendedupinthedrawingprogram,”sherecalls,“becauseitseemedtheplacewherestudentsweremostencouragedtoexploreandtakerisksinavarietyofmedia.”

ShehighlightsthesupportshereceivedfrominstructorandVisualArtsChairRichardBrown,atacriticaltimeinherstudies,feelingtheclassroompressurestoproduceinhersecondyear.“IwouldhavedroppedoutifIhadn’tmethim,”shesays.“Hehasagiftforreadingeachofhisstudentsandguidingthemwithcustommethods.OnadayIwasfeelingparticularlydoubtful,hetoldme,‘Whateverwayyoudoitisthe

rightway.’Thiswasliberating,becausehegavemefullpermissiontotestthingsout.Ilearnedtomakeallmyowndecisions.”

Hammbegantofindherownvoiceasamultimediaartist,whichannounceditselfinvariousexhibitions,includingEntitled,partoftheMovingImages+SoundCollectiveFestivalheldattheGlenbowMuseumin2013.Theshowbroughttogethervariousworksinvolvingarthistoryandslidefilmcollages,andthedevicesbuilttoviewthem.

Askedhowshewoulddescribewhatshedoestosomeoneataparty,

EDUCATING CORRIE

A strong believer in art and art education, Corrie Hamm wants to transform

both with her work and research.

Transforming the world Our Alumni


Hammresponds,“I’vebeenworkingforanintroforwhatIdoforvariousperspectivesofart,because,youknow,yourgrandmaisgoingtoneedadifferentdescriptionthansomeonewhoisnerdingoutontheory.IguessImightstartoffwith,‘I’mcuriousabouttheunknownandtheunknowable...”

HammhascarriedforwardthiscuriosityaftergraduatingwithaBFAwithdistinctionin2013.Shecontinuestodevelopherartpractice,andworksasagallerytechnicianatIllingworthKerrGalleryatACADandavisualartsinstructorattheWildflowerArtsCentre.Asateachersheexperimentstofindunconventionalwaystohelpstudentsdeveloptheirowncreativeprocesses.

Notsurprisingly,Hammisastrongbelieverinthevalueofartandarteducation,especiallyinthefaceofcontinuedgovernmentcutbacks.“Arthastheuniqueabilitytobebothattheheartofcultureandsomeplaceoutsidelookingin,”shesays.“Itassistsinexploringourrelationshipwiththeworldandofferswaystomovepastourcurrentknowledgeandunderstanding.”

Shepointsoutthatthebudgetcutters’lackofappreciationmaygobacktobadartclassexperiencesintheirformativeyears.“Iwouldliketobeanadvocateforchangeinhowartisapproachedinprimaryandsecondaryeducation,”shesays.Thinkingofherownexperience,Hammadds:“Outofmythreeundergraduatedegrees,thefirsttwoweremainlyaboutparroting.Artschoolistheonethatfeltlikeaneducation.”

Top: Digital still from the multi-plane animation Entitled, 2012.

Right: Mutiplane animation device. 4”x10”x4” (yellow cedar,plywood), sample plexi-glass planes, cut art history slides.

Used to create animation titled, Entitled. 2012. Original 5:25min. This video screened at the Glenbow Museum, Calgary, Alberta as part of

the Moving Images + Sound Collective Festival in March of 2013.

Below: ‘———-’ . Truck door, chair, wood panel, paper, and video projected precisely on the side mirror for the

viewer to watch while seated)



“Theboundarybetweenvariousartformsishazyforme,”saysSarahNordean.“Ithinkthingscanslidebackandforthbetweendifferentmodesofexpressiontogetanideaacross.”

TheboundariesfortheCalgaryartistincludetheonesbetweenpainting,drawing,sound,videoandsculpture.Sheisfascinatedbyrepeatedgesturesandstrivestocreatetheextraordinaryoutoftheordinary.She’llmapherwalkingjourneysviaGPScoordinates,turntheseintoacontinuumofrelatedshapesthatsashayacrossanexhibitwalltoahypnoticsoundloopshehasalsocreatedfortheoccasion.

Nordreanhaslearnedtomarchtothesoundofherownmusicloop,puttingasideacareerasahighschoolartteacher

Sarah NordeanBORDER CROSSINGS

Sarah Nordean plays with media

to find the best ways to make the

monumental out of the mundane

and to discover the power of

repeated gestures.

Walking Loops 1, 2013, coloured pencil and acrylic on frosted drafting film

Photo: Minttu Maari Mäntynen


toentertheAlbertaCollegeofArt+Designwherehertalentandpaintingpracticewasnurturedbyinstructorsandpeers.Shelovedbouncingideasoffthemandshowingworks-in-progress.

CompletingherBFAatACADin2007,Nordeanbelievesthatthededicatedartschoolisthewaytogo.Itsunwaveringfocusandcompletecommitmentgivestudentsadeeperconnectiontoart,asopposedtointegratingitwithotherstuffyouaredoing.

Yes,sure,youmighthavetodootherworktosupportyourpractice,butthepracticeitselfisthething.Youhavetobeboldandriskit.“Beingcautiousisnotmyideaofagoodtime,”shesays.“Bepassionateaboutwhatyoudo.Doingwhatyouloveisextremelyrewarding.”

Followingherpassion,NordeanenteredtheEmilyCarrUniversityofArt+DesignLowResidencyMastersprogramthreeyearsago,whichallowshertocompleteherMastersdegreeinAppliedArtsinCalgary,whilespendingthreeJulysinarowwithintensiveworkandexhibitsattheuniversityinVancouver.Shehasjustcompletedthelastofhercourseworkthissummer.

“I’mjustfinishingdoinganexhibition,inVancouver,withmycohortsfromEmilyCarr,”shesays.“Iamshowingthisonedrawing,whichIhavebeenworkingonforthepast

year,thatexploresrepetitivegesturesandtheideaofmakingsomethingmundanemonumental.”Thedrawing,formedfromrepeatedtallymarksusingdippenandinkonpaper,isanongoing,cumulativeworkcomprisedofmorethan100smallerdrawings.

TheideaofrepetitionandturningdailyroutineintorevealingartunderliesherThe Islandsexhibit,heldlastyearatCalgary’sUntitledArtSociety,anot-for-profitartist-runcollective.Inexploringthe“relationshipbetweenimagemakingandourconnectiontospaceandplace,”shemappedherwalksthroughcityspacesusingGPScoordinatesandemployedthese“drawingsascompositionalelementsforhervisualworks.”Theacrylic-on-papermapsarelinkedthrough“continualmovement,repetitioninreturningtothesameplacesagainandagain,andrhythmofstepandbreath.”

Nordean’sartpracticeisalsocontinualmotion.Nowdonehermasters,withastrongfocusondrawing,shewantstoexpandherpracticetoincludeperformance,videoandperhapssculpture.

Whateverworksbestforherideas–forgetaboutthetriedandtrue;bordersaremeanttobecrossed.“Ifyougetlostdoingsomething,whynotdothatthingfortherestofyourlife?”sheasks.

Ticks (5,404 minutes), 2014, dip pen and ink on paper

Photo:s Scott Massey

CHINA 13

SOUTH KOREA

3INDIA

2

Top 5 Countries

18 - 24

Total graduates

191alumniover 7,500

KENYA

5

International

Age

Gender

Full/part time students67

Average Studio Size

15 STUDENTS

Bachelor of Design

69

122

Bachelorof Fine Arts

took extended studies classes for credit (2013/14 academic year)

Total students

1,225 (enrolled in 2014 Fall session)

(enrolled in 2014 Fall session)

213 STUDENTS

SCHOOL PROGRAM

School of Visual Arts

School of Communication Design

School of Critical and Creative Studies

Sculpture Drawing

Photography Painting

Print Media

Illustration

Communication

Design

Liberal

Studies

Ceramics Fibre Glass

Jewellery + Metals

Media Arts + Digital Technologies

School of Craft and Emerging Media

54 CRAFT +

EMERGING MEDIA

52 COMMUNICATION

DESIGNBy program area

BFA BFA BFABFA BFA BFA BFA BFA BFA BDES BDES

CE

RA

MIC

S

DR

AW

ING

PA

INT

ING

PR

INT

ME

DIA

SC

UL

PT

UR

E

PH

OT

OG

RA

PH

Y

VIS

UA

L

CO

MM

UN

ICA

TIO

NS

D

ES

IGN

FIB

RE

GL

AS

S

JE

WE

LL

ER

Y

+ M

ETA

LS

ME

DIA

AR

TS

+

DIG

ITA

L

TE

CH

NO

LO

GIE

S

11 11 117

14

2825

8 7

17

52

part time23%

full time

(3 or more courses)

77%

male28%

female72%

VENEZUELA

4

Background image: Sarah Nordean, Walking Loops

0 - 17 25 - 34 35 - 44 45 - 54 55+

1.5%1.5%3%

77%

15%3%

Canadian Citizens + Permanent Residents: $4,479.90 for 1 year of study

International Students:for 1 year of study$14,499.90

Tuition(2013/14 academic year,

full course load)

Graduates of 2014(May 2014 graduating class)

Studentsin 2014Schools +

Program Areas

Schools +Program Areas

$414,000(in 2014)

Scholarships

85 VISUAL ARTS

C

M

Y

CM

MY

CY

CMY

K

Inforgraphic2014_fullpage_REV.pdf 1 2014-11-18 8:37 AM

CHINA 13

SOUTH KOREA

3INDIA

2

Top 5 Countries

18 - 24

Total graduates

191alumniover 7,500

KENYA

5

International

Age

Gender


Average Studio Size

15 STUDENTS

Bachelor of Design

69

122



Total students



213 STUDENTS

SCHOOL PROGRAM




Sculpture Drawing


Print Media

Illustration

Communication

Design

Liberal

Studies


Jewellery + Metals



54 CRAFT +

EMERGING MEDIA

52 COMMUNICATION



CE

RA

MIC

S

DR

AW

ING

PA

INT

ING

PR

INT

ME

DIA

SC

UL

PT

UR

E

PH

OT

OG

RA

PH

Y

VIS

UA

L

CO

MM

UN

ICA

TIO

NS

D

ES

IGN

FIB

RE

GL

AS

S

JE

WE

LL

ER

Y

+ M

ETA

LS

ME

DIA

AR

TS

+

DIG

ITA

L

TE

CH

NO

LO

GIE

S

11 11 117

14

2825

8 7

17

52

part time23%

full time

(3 or more courses)

77%

male28%

female72%

VENEZUELA

4


0 - 17 25 - 34 35 - 44 45 - 54 55+

1.5%1.5%3%

77%

15%3%




full course load)



Program Areas


$414,000(in 2014)

Scholarships

85 VISUAL ARTS

C

M

Y

CM

MY

CY

CMY

K


CHINA 13

SOUTH KOREA

3INDIA

2

Top 5 Countries

18 - 24

Total graduates

191alumniover 7,500

KENYA

5

International

Age

Gender


Average Studio Size

15 STUDENTS

Bachelor of Design

69

122



Total students



213 STUDENTS

SCHOOL PROGRAM




Sculpture Drawing


Print Media

Illustration

Communication

Design

Liberal

Studies


Jewellery + Metals



54 CRAFT +

EMERGING MEDIA

52 COMMUNICATION



CE

RA

MIC

S

DR

AW

ING

PA

INT

ING

PR

INT

ME

DIA

SC

UL

PT

UR

E

PH

OT

OG

RA

PH

Y

VIS

UA

L

CO

MM

UN

ICA

TIO

NS

D

ES

IGN

FIB

RE

GL

AS

S

JE

WE

LL

ER

Y

+ M

ETA

LS

ME

DIA

AR

TS

+

DIG

ITA

L

TE

CH

NO

LO

GIE

S

11 11 117

14

2825

8 7

17

52

part time23%

full time

(3 or more courses)

77%

male28%

female72%

VENEZUELA

4


0 - 17 25 - 34 35 - 44 45 - 54 55+

1.5%1.5%3%

77%

15%3%




full course load)



Program Areas


$414,000(in 2014)

Scholarships

85 VISUAL ARTS

C

M

Y

CM

MY

CY

CMY

K


CHINA 13

SOUTH KOREA

3INDIA

2

Top 5 Countries

18 - 24

Total graduates

191alumniover 7,500

KENYA

5

International

Age

Gender


Average Studio Size

15 STUDENTS

Bachelor of Design

69

122



Total students



213 STUDENTS

SCHOOL PROGRAM




Sculpture Drawing


Print Media

Illustration

Communication

Design

Liberal

Studies


Jewellery + Metals



54 CRAFT +

EMERGING MEDIA

52 COMMUNICATION



CE

RA

MIC

S

DR

AW

ING

PA

INT

ING

PR

INT

ME

DIA

SC

UL

PT

UR

E

PH

OT

OG

RA

PH

Y

VIS

UA

L

CO

MM

UN

ICA

TIO

NS

D

ES

IGN

FIB

RE

GL

AS

S

JE

WE

LL

ER

Y

+ M

ETA

LS

ME

DIA

AR

TS

+

DIG

ITA

L

TE

CH

NO

LO

GIE

S

11 11 117

14

2825

8 7

17

52

part time23%

full time

(3 or more courses)

77%

male28%

female72%

VENEZUELA

4


0 - 17 25 - 34 35 - 44 45 - 54 55+

1.5%1.5%3%

77%

15%3%




full course load)



Program Areas


$414,000(in 2014)

Scholarships

85 VISUAL ARTS

C

M

Y

CM

MY

CY

CMY

K




Brittney Bear HatUNITED IN EXPERIENCE

Brittney Bear Hat’s work has evolved

from focusing on the stereotypes

that divide us to the experiences

we have in common.

ForBrittneyBearHatartisatooltoexploretheelusivenotionofidentity.“IgrewuphereintheCalgaryareabutfeltseparatedfrommyaboriginalcommunity,”sherecalls.“ForalotofmylifeIfeltIwasmakingitupasIwentalong.IfeltIwasastereotype.Ididn’tunderstandwhatmademenative.Whatwasmycultureandidentity?”

Growingupwithacreativestreak,shefollowedtheleadofhereldersisterRichelleandenteredtheAlbertaCollegeofArt+Design,in2007.“Ifitweren’tforACAD,Iwouldn’tbewhereIamnow,”shesays.“Itdefinitelyhelpedmebuildapracticeformyself.”

BearHatbuiltonthisfoundationinaseriesofresidencies–includingonesatContemporaryGalleryandTheBanff

Centre–whereshestarteddeepexplorationsofherroots,exchangingideasandinspirationwithotheraboriginalartists,includinghersister.

“Most of my time is spent googling different names, titles, phrases – all linked to being ‘Native.’ I was intrigued by the stereotype I found in the images.”—FromthedescriptionoftheThis is...series,2011.

InherThis is...seriesBearHatwilloftentakethevisualclichésandreframethemsothattheviewerquestionstheirownculturalassumptionswhiletheartistatthesametimeexorcisesherowndemonsofidentity,intheaccompanyinghandwrittennotes.Forexample,aparticularpiecedepictsaseriesofimpassivenativewarriors.Shewrites,“Thisiswhatitmeanstobestoic.”Andthesubtextis,stoiciswhatsheisalsoexpectedtobe.

OnceBearHatgotthestereotypesoutofhersystem,shefeltmoreateasetoexplorewhatheridentityreallymeantthroughherfather,ArthurChipesiaandhermother,LibertyChipesiawhodiedApril,2000.

Photo: Brittney Bear HatPhoto: courtesy of Art Gallery of Calgary (now Contemporary Calgary), 2014


“My Mother would sometimes blast Biggie from the kitchen to wake us for breakfast.”—NotefromtheRememberseries,2013

IfBearHat’smotherservesasamuseformuchofherwork,herfatherprovideslivinginspirationandasourceoffull-heartedsupportforhisdaughter’sexplorations,whichlatelyhaveincludedaddingvideoandmarkingareturntosilkscreenprints.Heisalsotheguardianoffamilystories,fleshingthemoutforherandlettingherknowtheonesthataresacredandmustbekeptsecret.

“It’sveryimportantformetoholdontoallmychildhoodmemories,”shesays.“Ijustwanttoremembermymomandmydad.”

Asherartpracticehasevolved,BearHathascometobelievethatthereismorethatlinksherwithnon-aboriginalsthanseparatesher.TheideaofconnectionunderliestheOURSshowshehadthisyearwithJenniferTellieratEdmonton’sLatitude53gallery.

Drawingonapreviouscollaboration,theinstallationwascomposedofpersonalartefactsandelementsoffamilyhistory.“JenissomeonethatIwasabletoshareandconnectwith.Webothcomefromasimilarbackground.Weshareasimilarchildhood,”saysBearHat.“Webothgrewupwithfatherswhowerehuntersandtheyarecontinuallypassingonthatknowledgetous”

Intheshowitself,therewerenoindicationsastowhichartistproducedwhichwork.Viewerscouldseethattherealexperienceswehaveincommontrumptheartificialdivisionsweoftencreate.

Photo: Brittney Bear Hat, 2014 Photo: Brittney Bear Hat, 2014

Photo: Brittney Bear Hat, 2012



Carson LongInhiscreativecareerthusfar,CarsonLonghaslearnedacoupleofvaluablelessons:Thatonethingleadstoanotherifyouareopentothepossibilities,andthatthereisasweetspotofopportunitywherecreativityandlogicoverlap.

LonginitiallyenteredtheAlbertaCollegeofArt+Design,in2007,tostudydesign.Butinhisarthistoryclasshefoundhimselfattractedtothegranderdesignsofarchitecture.SohedidhisfirstzagthefollowingyearandenteredtheSouthernAlbertaInstituteofTechnologytoearnhistwo-yeararchitecturaltechnologiesdiploma.

ThisiswhereLongzigged.Heneededtocompletehisfour-yearundergraduatedegreebeforeenteringthemastersarchitectureprogramattheUniversityofCalgary.ItwouldhavemadealotofsenseforhimtogotoUofCforhisundergradbutinsteadheoptedtoreturntowherehebegan,takingthedrawingprogramatACAD.

Withhiseyealwaysonhislonggame,hebelievedthatanarteducationwouldhelphimdevelopauniquewayofproblemsolvingthatwouldgivehimanadvantagewhenfacedwiththemassivechallengesofarchitecture.

“IfeltthatACADwouldhelpmetodevelopmyownprocess,”explains25-year-oldLong.“Architectureisallaboutprocess,sothisisimportant.Artschool

PLAYING HIS LONG GAME

Pursuing his art

practice and a master’s

degree in architecture,

Carson Long is open

to where experience

leads him.


teacheshowtofindcreativesolutionstoproblems.Otherkindsofschoolsjustdon’tteachyouhowtodothis.”

Healsocreditshisinstructors,includingTanyaRusnakandRichardBrown,forhelpinghimtofindhisfocusandcoaxouthistalent.“Ifyouhaveagoalinmind,theprofessorshaveagreatwayofhelpingyoutoreachit.Whiletheyaretheretocoachyou,theydon’tthinkforyou.It’suptoyoutofigureoutthesolutionstoproblems.Theyreallyhelptodevelopapassionforfindingnewwaystosolvechallenges.”

Longappreciatedthewaythedrawingprogrambuiltonasolidtechnicalfoundation–backedbytheory,criticaldiscourseandconstantencouragementtoreachbeyondthetraditionalboundariesofdrawing–tohoneapersonalpracticeandanimpressivebodyofwork.“Ifoundmyselfreallybenefittingfromthefocusonthelogicalandthecreativeandartisticatthesametime,”hesays.“Ifindthetworeallysupporteachother.There’sanarttomath,andyouneedlogictosolvecreativeproblems.Usingthetwo,youlearntostepoutsideyourbox.”

HavinggraduatedwithhisBFAin2014,LongisdeterminedtokeephisartpracticegoingasheentersUofCforthe

architectureprogram.Thisincludeshisgraphicdesignsandhismoodyblack-and-whitephotographyandart.Hisworkdisplaysaloveofgeometricforms,urbanlandscapesandmanmadestructuresthatshowheisontherighttrackforacareerinarchitecture.

Evenso,Longisalwayspreparedfornewzigzagsinhiscareerpath.“Idon’twanttolimitmyselfyet,”heexplains.“I’mgoingtojustdomythreeyearsandseewhereIstand.ThereareafewavenuesIcouldgodown.Yes,Icouldpursuearchitecture.Icouldreturntographicdesign.There’salsomyartpractice.Ijustwanttoseewhereexperienceleadsme.”

Left to right: Expanse, 2014, acrylic ink on wood canvas; Sprawl, 2013, acrylic ink on

wood canvas; Construct, 2012, acrylic ink on wood canvas with pouring medium



DRAWN TO NEW YORK

With fearless attitudes and strong technical skills learned at ACAD, Jillian

and Lauren Tamaki have made a big splash in the Big Apple.

Jillian and Lauren Tamaki

ThesistersTamakiareadoublethreat.FromtheirrespectiveapartmentsinBrooklyn,thetwographicartistsraisedinCalgaryhavemanagedtoconquertheBigApplewiththeirdistinctiveart.Jillianisafreelanceillustratorwhoalsocreatesbestsellinggraphicnovels.AndyoungersisterLaurenissimilarlyaccomplished,combiningabusyfreelanceillustrationpracticewithfull-timedesigngigsthatlethermultipletalentsshine.

Ifthetwofeelarivalry,itdoesn’tshow.

“Laurenisreallyattunedtoculture,fashionandtrend,bothcontemporary

andhistorical,”saysJillian,34.“Sheunderstandscontextverydeeplyandalsohasagoodsenseofhumourandlightspirit.

Lauren,31,saysofhersister:“She’sillustrationroyalty.She’ssetapartbythefactshehastechnicalskillandstorytellingability.”

CertainlythelasttwoqualitiesarewhatJillianhasbecomeknownfor.AfterdoingafoundationyearinfineartatQueensUniversityinOntario,shereturnedhometotakeaVisualCommunicationsDesigndegreeatAlbertaCollegeofArt+Design.

Whileherintentwastostudydesign,thecurriculum’ssecondfocus,onillustration,seducedher“immediately.”“WhenIenteredACAD,Idon’tthinkIknewillustrationwasevenathing,”sherecalls.

“Iwasgladtheprogramwassofocusedondrawingfundamentalsandemphasizedbothdesignandillustration,”sheadds.“Itmademeamuchstrongerdrawer.Igraduatedfeelingreallyprepared.”

Jillian’ssolidgroundinghelpedhertakeoffalmostimmediately.Aftergraduatingin2003,shestarted

Jillian Tamaki

This Summer Sampler from This One Summer, 2014


freelancinginCalgaryandthenlandedatanEdmontonvideo-gamecompany,whilecontinuingtofreelance.WithenoughclientsshewentfreelancefulltimeandmovedtoNewYorkin2005.

Sincethen,herclientshaveincludedthelikesof theNew York Times,New Yorker, National Geographic, PenguinBooks,Oprah Magazine andWIRED. Atthesametimeshepursuedaloveofcomicsandwithcousin,MarikoTamaki,createdthegraphicnovelSkim,in2008,whichwasnominatedfortheGovernorGeneral’sLiteraryAward.Thisyear,thepairpublishedThis One Summer, awhimsicalcoming-of-agestory.Thenovelhadatwo-weekrunontheNYT bestsellerlist.

Inspiredbyhersister’sexample,LaurenfollowedafashiondesigndegreeatRyersonUniversityinTorontobyenteringACAD’sVisual

CommunicationsDesignprogram.Thetwinfocusofhercourseshelpedhertorealizeshecouldhaveadualdesignandillustrationcareer.“Thetrainingjustmakesmeamorevaluableemployee,”sheexplains.“Themorearrowsyouhaveinyourquiver,themoremarketableyouareinacompetitivemarket.”

Whileinschool,LaurendidfreelancedesignandillustrationforclientssuchasMurale,Goodmagazine,SwervemagazineandTheatreJunctionGRAND.Aftergraduatingin2011,shevisitedJillianinNewYorkandlandedajobatBumbleandbumble,wheresheimmediatelymadeasplashinthegraphicartscommunitywiththewallpapershedesignedandillustratedattheuptownsalon,aswellasholidaycardsandtheillustrationsshecreatedforB&b’sfirstrewardsgamingapp.

ShecontinuedtodofreelanceillustrationsforclientssuchasGQ, Wall Street Journal andColeHaanandin2013,shemadetheleaptoNewYork’sArch&Loopdesignfirm,whereshereunitedwiththebeautyandfashionclientssheloves.SheisnowdoingalotmoredesigningfortheWeb,forcinghertolearnnewskillsonthefly.

Sheisnotfazedbecauseofthe“fearlessattitude”thatsheandhersisterlearnedatACAD.Theharddeadlines,highprofessionalstandardsand,especially,thedemandingbutsupportiveinstructors,madethemrealizetheycoulddojustaboutanythingtheysettheirmindsto.

“Theyhelpedustogetreadyfortherealworld,”saysLauren.“Youcan’tputapricetagonthat.”

Lauren Tamaki

Left: Wall Street Journal, January 2014

Bottom left: Toronto Life, July 2014

Bottom right: Cole Haan, Holiday 2013


TRUCH BE TOLD

The four Truch siblings have used

their ACAD education to become

competitive in the international

design market and to launch a

landmark Calgary restaurant.

KimTruch(nowBiggs)startedatrendinhercreativeCalgaryfamilywhensheenteredtheAlbertaCollegeofArttostudydesign,in1980.ShewasfollowedbysiblingsAlli,ChristopherandJon.

“FouroutoffiveuswenttoACAD,”shesaysandaddswithalaugh,“Ourotherbrother,Mike,isanatureboy.Flyfishing,birdingandanythingnaturerelatedishisobsession.”

TodayAlliandKimrunBiggs&Co,amultidisciplinarycreativeagencywithofficesinNewYorkandLosAngeles.ThepairhasworkedwithmusicaltalentrangingfromAerosmithtoRihanna,andformajorbrandslikeZero,HaliburtonandSoap&Glory.Afterservingasasenior

artdirectoratMTVinNewYork,ChristophernowrunsafreelancedesignpracticeinGuelph,Ont.,livingwithhiswifeandson.

Withapassionformusic,designandartdirection,thethreehavecollaboratedonprojectstogetherandlikeanygoodbrothersandsistershavestronginsightintooneanother’stalentsandpersonalities.“ChristopherhasadifferentstylethanKimandme,”saysAlli,forexample.“It’smorethoughtdriven.He’smoreofatraditionalist,whereourworkismorepopculturedriven.”

TheirotherACADbrother,Jon,blazedhisownpath,takingsculptureinschool.Almostadecadeago,heopenedTubbyDog,whichhasbecomeaCalgarylandmark,withitseclecticmixofpinballmachines,livemusicandfabuloushotdogcreations,liketheSumoDog,garnishedwithJapanesemayo,wasabi,pickledgingerandtoastedsesameseeds.

“It’smoreofaholisticexperiencethanarestaurant,”musesChristopher.“Ithinkhetookhiseducationandputallofitinhisbusiness.There’sthesecrazy,over-the-tophotdogs.TheyarekindofsculpturesnowthatIthinkaboutit.”

The Truch Family


Alli Truch + Kim Biggs Photo: Ken Schles

Christopher Truch

Jon Truch


ThethreedesignwhizzesofthefamilyTruch(pronouncedtroochnottruck)migratedsouthseparately.Determinedtobecomepartofthemusicindustry,KimmovedtoL.A.aftergraduation.HergigsincludedseniorArtisticDirectoratWarnerBrothersRecords,associateCreativeDirectoratRCARecords,headofcreativeservicesatMaverickRecordsandownerandcreativepartneratPopglory.

InNewYork,AllifollowedayearofadditionaleducationattheSchoolofVisualArtswithstintsthatincluded,amongotherthings,asadesigneratPolyGramRecords,VPcreativeservicesatElektraEntertainmentandseniorVPcreativeservicesatIslandDefJam.In2006,sheandhersisterlaunchedBiggs&Co.,graduallyrefocusingtheirmusicbusinesstoageneralbrandingpractice.

Forhispart,ChristopherwasamusicprofessionalbeforegoingtoACADandthenservingfirstasthemarketingand

editorialdirectorofPaper Magazine,inNewYork,andgoingonayearlatertoMTV,wherehewasresponsibleforawiderangeofoff-airbranding,marketingandadvertisingprojects.

AllthreeareadamantthattheirACADeducation,andtheworkethicinstilled,madethemsuccessfulinthecontinent’smostcompetitivecreativemarkets.“I’dsaythatafterexperiencingwhatissupposedtobeoneoftheworld’sbestdesignschools,SVA,theleveloftrainingIreceivedatACADwasonpar,”saysAlli,whohastaughtatSVAthelastsevenyears.

“MytimeatACADchangedmylife.ItwaslikePlato’sCave,”addsChristopher.“TheblinderscameoffandIsawtheworldfromadifferentpointofview.Itpreparedmetocompeteonaworld-classlevel.”

Top left: Blue Nectar Tequila, Biggs + Co. Right: Reebok, Biggs + Co. Bottom left: Tubby Dog. Centre: Book jacket design / The Autobiography of Mark Twain / Harper Collins Publishers New York, C.Truch. Right: Book jacket design / Soren Kierkegaard - Works of Love / Harper Collins Publishers New York, C.Truch.


Debra Bishop

TAKING MANHATTAN

Learning to work hard

and smart at school in

Canada, art director

Debra Bishop has

flourished in the Big

Apple, working for

a range of big-name

magazines.

“Workethic”—thisistheedgethatDebraBishophadoverotherdesignstudentswhenshewenttoseekherfortuneinNewYork,in1984.

FromherofficeinNewYorkCity,thecreativedirectorofMoremagazineexplainsthatherfour-yeardegreefromwhatwasthenknownasthe

AlbertaCollegeofArtprovedthatshecouldmakeitanywhere,includingtheBigApple.

OneofherfavouriteACAinstructors,RickZak,encouragedhertoseekoutopportunitiesinNewYork.Travellingtherewithfellowstudents,illustratorsDougFraserandGarnetHenderson(nowherhusband),BishopdecidedtofurtherhercommunicationdesigneducationattheSchoolofVisualArts.

“AtAlbertaCollegeofArtwelearnedhowtoworkreallyhard,”sherecalls.“ItwasaveryrigorousprogramthatprepareduswelltoshineamongalltheotherstudentsatSVAwhodidn’thavethesamekindofworkethic.AlsothebroadereducationIhadreceived—coveringillustrationandadvertisingaswell—oftenhelpedme

withmynew,morespecializedfieldofgraphicdesign,asIhadamuchbiggerrepertoiretodrawmyideasfrom.”

Bishopquicklyprovedherself.OneofherSVAinstructorswasPaulaScher,theacclaimedgraphicdesignerandpainterwhoseaward-winningworkincludesbrandidentitiesfortheMuseumofModernArtandNewYorkBallet.TheCanadianwasoneofthreestudentshiredfromtheclasstoworkinScher’sstudio.

OnceontheManhattanrollercoaster,shefoundthatonerideleadstoanother.Afterfouryears,BishopwashiredforafreelanceprojectbyRolling Stone magazine,workingwithartdirectorFredWoodwardtodesignabook,Rolling Stone: The Photographs(1993).Impressed,Woodwardhired



Bishopfulltimeasseniorartdirectorforthebibleofthemusicindustry.

Then,afterastintasdeputyartdirectoratHouse&Garden,shejoinedMarthaStewart’sOmnimedia,in1997,astheartdirectorfortheMarthabyMailcatalogueandwaspromotedtodesigndirectorofMarthaStewartBaby,VP/designdirectorofKIDS:FunStufftoDoTogetherand,later,BlueprintMagazine.

Besideswinning“MagazineoftheYear”fromtheSocietyofPublicationDesigners(SPD)andtheAmericanSocietyofMagazineEditors(ASME)forKIDSandBlueprintmagazines,BishophaspickedupawardsfromtheArtDirectorsClub,theTypeDirectorsClub,AIGAandAmericanPhotography.Hergrowingreputationandgroaningawardsshelfhelpedherlandhercurrentgig,in2008,ascreativedirectorofMore,amagazine

aimedataffluent“womenofstyleandsubstance.”

Bishopadvisesstudentstofindtheirownsubstanceandstyle,andnottobediscouragedfromgettingintoprintdesign,eveninthisInternetage.“Therewillalwaysbesomekindofforumforpublicationdesign,”shesays,“whetherit’sadigitalmagazineorannualreportsorsomethingelse.”

Theimportantthingistogetthedesignfundamentalsdown,sheinsists,learninghowtoputtypographyandimagestogether.Attheendoftheday,“gooddesignisgooddesign.”

AsBishoppreparestoreturntoworkandaredesignofhermagazine,aswellasfinishingajobconsultingforParents magazineandtakingonaprojectforthe50thanniversaryoftheSPD,it’shardtodisputeherlogic.

Images courtesy of Debra Bishop



Jennifer VallisTOUGH LOVE

Challenged by her instructors to “figure it out” herself, Jennifer

Vallis has been able to pursue her passion for interactive and

performance art, and launch her own studio.

Ponderingthereasonsforhersuccessasanewmediadesigner,interdisciplinaryvisualandperformanceartist,andbusinessowner,JenniferValliscitesthe“toughlove”ofherinstructorsattheAlbertaCollegeofArt+Design.“Iftherewassomethingyoudidn’tknowhowtodo,they’dsay,‘Gofigureitout,’”recallsthe20-year-old.“Itwouldbefrustrating.I’dbe,I’vepaidalotoftuitionandnowI’mbeingtoldtofigureitoutmyself?”

ButVallissoonrealizedthe“hugerewards”ofguidedself-discovery:“Intherealworld,there’snotalwayssomebodyyoucancalltoaskhowtosolveaproblem.Learningtodothisyourselfisareallyimportantskillset.”

IntheMediaArtsandDigitalTechnologiesprogramshealsolearnedtoweavetogetherthedifferentstrandsofherinterests,oftenexploringthecomplexrelationshipsbetweentechnologyandperformers.Sheusedtechnologiessuchasmotiontracking,wearableelectronicsandtangibledigitalinterfacestoenhancetheperformancesofdancersandmusicians.

SheprovidesalotofthecredittotheartistandentrepreneurshehasbecometodaytoformerInteractionDesigninstructorandheadofMADTAdamTindale.“Jennieisfearless,generousandverysocial,”says


Tindale.“Whatimpressedmemostwasherdedicationtocraftandherabilitytomovetheworkforwardandacquireskills.Shewouldapproachmewithanideaandidentifyafewthingsshecouldnotdo.Iwouldmakesuggestionsandgivehersomebasics,andthenexttimeIsawhershewouldhavefoundacommunitywhereshecouldcultivatethatskillandfindnewcollaborators.”

In2011,VallisgraduatedwithaBFAandwasrecognizedasanACADBoardofGovernorsRecipientforheroutstandingachievementsinclassandout.Shestrodeintoherprofessionallifeconfidently,armedwiththetoughlovelearningandstrongconceptualskillscultivatedatACAD.

HerworkincludedbecomingaproductioncoordinatorfortheQuickdrawAnimationSocietyandartisticproducerforLaCaravanDanceTheatre.Shealsosawtheall-femaleurbanartscollectiveshefoundedinACAD,BigKitty,growinto“thelargestgroupofitskind,”withmembersacrossthecountrycollaboratingonmurals,exhibitions,liveperformances,workshopsandcommunityprojects.Thecollectiveisduetobringoutalineofclothingin2014.

Assheworkedforothers,Vallisrealizedinaflashofinspirationthatshecouldbeherownboss.In2012shefoundedStudioCartel,inCalgary,aproductionstudioandartcollectivewithfiveresidentartistsandavisitingartistprogram.Thestudiodesignsandbuildslarge-scaleartinstallations,interactiveworksandstagedesigns,whileofferingindependentcreativeservicessuchasphotographyandmetalwork.

“IwouldhaveneverbeenabletobuildacompanyandhaveacareerasIdonowwithoutACAD,”saysVallis.“Thelastcoupleofyearshavebeenamazingandcrazy.Iloveeverythingfrommakingmusictocreatingprojectionstobuildingthings.AndIamopenandreadyforwhateverhappensnext.”

Top: Digital Cave, Studio Cartel. Interactive Sculptural Installation;

PASSAGE Art Space, 2014. Photo Credit: Katy Whitt

Right: Paper Planes; Interactive Dance Performance/Installation.

Dancer: Megan Gole. Glenbow Museum, 2012.



CRITICAL SUCCESS

Through digital

agency Critical Mass,

the Delichte brothers

have helped nurture

generations of creative

talent and incubate

new businesses in

Calgary.

DarrenandJasonDelichteareproofthathowyoulearnismoreimportantthanwhat.Theyalsodemonstratethatifyoustaytruetoyourrootsandleadchangeinsteadoffollowit,thatsuccesscanbegetsuccess.

ThebrothersleftWinnipegtoenterthecommunicationdesignprogramattheAlbertaCollegeofArt+Designinthe1990s,justastraditionalgraphicdesignwasbeingrevolutionizedbycomputers.Butratherthanfocusonprint,theDelichtesbecameentrancedbythepossibilitiesofworkinginthedigitalspace.Theydidalotofself-directedstudyinthisarea,especiallyunderthewatchofinstructorMichaelClairo.

“ACADhasahugereputationforthedevelopmentofitscreativeprocess,”saysDarren,whoservedmorethanthreeyearsonACAD’sBoardofGovernors.“ThedifferencebetweenACADandotherinstitutionsisthatitingrainsdeep,insightfulthinking,notsurface-levelthinking.”

WhenClairolaunchedanewcreativeagencywithentrepreneurTedHellard,in1996,calledCriticalMass,hebroughtthreeACADstudentswithhim,includingtheDelichtes.

Thebrothers’multimediaexperimentationsfitperfectlywithCriticalMass’snewmediafocus—atfirstcreatingCD-ROMs.Theagencypitchedforthebusinessof

The Delichte BrothersLeft: Darren Delichte Right: Jason Delichte


Mercedes-Benz,asitsfirstmajorclient.Mercedessaid,That’snicebutwhatwereallyneedhelpdevelopingisourwebsite.CriticalMassgulped,replied,Wecandothat,too,andthenscurriedofftoteachitselfhow.

ThegroundbreakingsiteitcreatedledtoCriticalMassbecomingtheMercedes-Benzinteractiveagencyofrecord,andestablisheditsbonafidesjustasdigitaldesignwassettoexplode.Underthecreativedirectionofthetwobrothers,CriticalMassrodethiswaveandamassedashelfofawardsandanimpressiveclientlist,includingNissan,Rolex,Nike,Adidas,NASA,DisneyandAT&T.

In1999,theOmnicomGroup,theworld’slargestcommunicationsnetworkboughtastakeintheagency,enablingCriticalMasstogrowexponentially.Todayithastenglobalofficesandmorethan800employees.

Overtheyearstheagencyhasservedasanincubatorforbothlocaltalentandbusiness.IthashiredmanyACADgraduates,becausetheyhavethetrainingtodelivertheallimportant“insight-drivendesign.”“Itreallyhasbeenagreatrelationship,”saysJason.“ACADcontinuestodevelopexceptionalrawtalentandCriticalMassprovidesanamazingenvironmentforthemtocontinuetogrowandworkoncreativeprojectsforworld-classbrands.”

Headds:“Wearealsoproudoftheimpactwe’vehadonthelocalindustry.We’vebeenahubofcreativityandtechnology,wheremanytalentedpeoplehave

cuttheirteethandgoneontostartupsuccessfulcreative,designandtechnologybusinesses.”

Thebrothers’provenabilitytoadaptandinnovatecontinuestoservethemwell.JasonasVP,ExecutiveCreativeDirectorcontinuestohelpleadtheagency’screativeteamasitevolvesitsdigitalexperienceanddesignexpertisearoundtheworld.Lastyear,DarrenlefthisroleatCriticalMasstoexploreotheropportunities.HewoundupbecomingexecutivecreativedirectoratacompanylaunchedbyTedHellard,calledAppColony,servicingtheexplodingmobilephone/tabletsector.

Nissan Global What If Experience, Critical Mass

One Tap - Distracted Driving App, 2014, AppColony


Reaping the rewards Our Award Recipients

Tammy McGrath

Visitors entered a scene of literary hell. Assaulted first by the earthy smell of charred paper, they saw three bloated, bat-like creatures with sharp claws hovering over a desolate landscape of more than 1,400 burnt books.

PresentedatCalgary’sTruckGalleryin2009,Voir DireisartistTammyMcGrath’smeditationonthedeathofknowledgeandtruth.Sheexplainsthattheexhibition’stitleisoldFrenchlooselytranslatedas“tospeakthetruth.”

Speakingthetruth–andinvestigatinghowitisconstructedandretained,ornot–issomethingthatthe42-year-oldmultimediaartisthasbeentryingtodoforalongtime.Shestartedbystudyingphilosophy,butherjobinaCalgarycafégotherinvolvedinthelocalartcommunity.

Followingtheleadofotherartistsshemetatthecafé,McGrathstartedtakingclassesattheAlbertaCollegeofArt

+Design,in1995.Hereshewasencouragedbyinstructorstotacklephilosophicalquestionsofinteresttoherfromavisualperspective,insteadofjustthroughthewrittenword.

“IfeltveryluckybecausetheteachersIhadwereveryengagedincriticaldiscourseandwillingtoencouragestudentstotackledifficultsubjects,”sherecalls.“Theyencouragedustotakechances.”

AftergraduatingwithherBFAinpainting,in1998,McGrathworkedasanartistandprogrammeratTheNewGallery,anartist-runcentrewheresheco-foundedMountainStandardTimePerformativeArtFestival.Fiveyearslater,shewentontogetherMFAinIntermediafromtheUniversityofRegina.

Sincethen,hercareerhasfollowedatripletrack.Shehasavibrantartpractice,teachesthroughextendedstudies

SPEAK THE TRUTH

As a multimedia artist, Tammy McGrath is constant in her determination

to study the shifting terrain of knowledge.


atACADandhasacuratorial/administrativecareeraswell.UntilrecentlyshehandledthevisualandmediaartsprogrammingattheEPCORCentreforthePerformingArts,andwascuratorandco-creatorofSoundasaurus:MultimediaSoundArtFestival,bothinCalgary.

Inherquestforthetruth,McGrathsometimesfindsthatgovernmentsare“shortsighted”intheirdecisionstocutfundingfromtheartsanduniversities.Theyforgethowimportantitistohaveavibrantartscommunitytoattracttouristsandtouristdollars.“Studiesshowthatartpromotescriticalthinking,”shesays.“Peoplewhogothroughtheseprogramsbecomevaluabletosociety,notjustintheartsbutinotherareasaswell.It’sallaboutexperimentation,askingquestionsandpushingtheboundaries.”

McGrathcontinuestopushherownboundaries.Sherecentlyreceivedthe2014ACADAlumniLegacyAwardforhergrowingbodyofworkandhercontributionsto

theartisticcommunity,despitethefactthatherworkisgoingthewayofthedodo–literally.Thissummershewasscheduledtofinishresearchandworkonaninstallationontheflightlessbirdthatwentextinctinthe17thcentury.

“I’mmakingcorrelationsbetweentheextinctionofdodobirdsandhowweaccessandrecreateknowledge,”McGrathexplains.“Thestoryofthedodoissomewhatfracturedbecauseithappenedsolongago.We’vegotconflictingstoriesaboutitsappearanceandhistory.Thebonescanonlytelluswhatthefoundationofthebirdlookedlike,therestisbasedonspeculation,wordofmouthandillustrationsthatmayormaynotbeaccurate.SothatknowledgebaseandhowitchangesispartoftheresearchI’mdoingforthisproject.”

Despitetheshiftingnatureofknowledge,McGrathremainsconstantinherdeterminationtoexploreitwithallthecreativityatherdisposal.

Top left: Adagio in G Minor: A Lullaby (component of a larger installation); Top centre: Adagio in G Minor: A Lullaby (detail);

Right: Dodo bird (pastel and ink drawing); Bottom left: still image from video piece THREE


Bev Tosh

NO VOYAGE HOME

By telling the poignant tales of

war brides sailing into the unknown,

celebrated painter Bev Tosh has

gained insight into her own

family’s story.

In1946,withtherumblesandroarsofWorldWarIIfinallyquieted,DorothyAutridgestoodonthedeckofa“brideship,”aconvertedtroopship,toembarkonagreatadventure,tojointheNewZealandpilotshehadmetatadanceandmarriedshortlyafterinSaskatoon.Elevenyearslater,Dorothywasonathedeckofashipagain,thistimewithseven-andnine-year-olddaughters,thistimereturningtoherhomeinSaskatoon.

“Althoughthetripwassupposedtobeaholiday,andweweresupposedtoreturntoNewZealand,Iknewmylifewouldneverbethesameagain,”recallselderdaughterandartistBevTosh.

Likehermother,thewarbride,Toshknewshewasonaone-waypassagetotheunknown.Thetwovoyagesbracketamysteryofmemory,identityanddislocationthathasfiredherimaginationandsinceguidedherprofessionalchoicesinanefforttounderstand.

Tograspthereasonsforthevoyagesthroughlightanddark,shewenttotheUniversityofSaskatchewantostudypsychology.Butshewoundupgettingadualdegreeinpsychologyandfineart,findingthatshepenetratedthemysterymoreeffectivelywithvisuallanguage.Shehonedthislanguagefurtheranddevelopedherfigurativestyle,withafour-yearshonoursdiplomainpaintingattheAlbertaCollegeofArt+Design,andthenwithanMFAinpaintingfromtheUniversityofCalgary.

Toshsetupasuccessfulartpractice,andkeptherselfenergizedbyteachingandmentoringemergingartistsandlecturingatseveralCanadiancollegesanduniversities,including14yearsatACAD.Still,questionsabouthermother’swarbrideexperience,andpainfulmemoriesoftheirbrokenfamily’sforceddeparture,lingered.



Tohelpher“negotiatementallyandphysicallythrough[hermother’s]passagethroughlife,”Toshpaintedaneight-by-six-footportraitofDorothyasawarbride,in2001.ThestunningpaintingthathassincehungintheNationalWarMuseuminOttawa,setToshonavoyagetounderstandthewarbrideexperienceinitslargercontext,tolearnandtellstoriesthathithertohadgoneunheard,beforetheagedsubjectsthemselvesweresilencedbythemarchoftime.

WhileToshwasgivingaworkshopinNewZealand,alocalnewspaperranacopyofhermother’sportraitonitsfrontpage.Thisinspiredanumberoflocalwarbridestocontactherwiththeirstories.Infactnewsofherartunleashedaninternationaloutpouringofwomenwhowantedtohavetheirstoriestold,fromacrossCanada,theUnitedStates,Britain,HollandandAustralia.

Feelingcompelledtotellthewarbridestories–andthroughthem,hermother’sandherown–Toshhasexpandedhertechnicalrepertoire,sothathergrowingOne-Way Passagewarbrideseriesincludesportraitsonwooden,TearBottles(smallbottlescontainingtinyportraitsandseawater),abridalveilofvintagehandkerchiefs,eachembroideredwith

thenameofabrideship,andevensculpture.Tug of War(Tender Steel)(2011),forexampleisa10-foot-longsculpturethatusesonecontinuouslengthofwiretoweavetogether15warbridesandacoupleofinfantsonashipboundtoAustraliain1946.

Toshhasalsopublishedabook,War Brides: One-Way Passage (2008).Shehasalsowonanumberofawards,includingtheQueenElizabethIIDiamondJubileeMedal,AlbertaCentennialMedal,theEnbridgeAlumniProfessionalDevelopmentAwardandACAD’sDistinguishedAlumniLegacyAward.

QuiteclearlyTosh’sownworkdemonstratesthatartisn’timportantbecauseitisvaluablebutbecauseitisinvaluable.Shehascapturedcompellingstoriesfromadramaticperiodofhistory,andtoldthemwithavisualvocabularythatcelebratestheminawaythey’llneverbeforgotten–aculturallegacy.

Whilethenine-year-oldstandingonthedeckoftheshipintheNewZealandharbourmayneverknowwhysheisleavinghome,Tosh’srichvoyageofself-discoveryhasgivenhersafepassage.



Jeff de Boer“Ialwaysimaginedwhatwouldhappenifwecouldturnoffart,justshutoffcreativity,”saysCalgaryartistJeffdeBoer.“Therealityis,thewholeworldwoulddescendintodarkness.

“Artissointegratedintoourlives,governmentandpeopledon’tunderstandwhatwouldhappenifitdisappeared.Theirclothingwouldn’tlookgood.Theirfoodwouldn’ttastegood.Therewouldbenocolourorlife.”

Anditwouldlacksuitsofdetail-perfectarmourcraftedforcatsandmice,chain-mailnecktiesforbusinessmen,sword-handledbriefcases,rocketlamps,highartexoformsandpublicartinstallationsthatgettongueswagging.

DeBoercomesbythemetal-infusedbloodhonestly.Inspiredbyhisfather,

aprofessionaltinsmith,hebegantoexplorethe“endlesspossibilities”ofmetal,buildinghisfirstsuitofarmourinhisfamily’sgarageduringhighschool.In1984heenrolledattheAlbertaCollegeofArt+Designforjewellerydesign.

Herehelearnedtobecomeanartistwithoutborders,asathomedesigningjewelleryascreatinglargesculptures.“Manypeoplethinkacraftdepartmentisaboutjustlearninghandskills,”hesays.“Theysayit’snotcreative,butitreallyis.IgraduatedfromACADmakingsculptures,andtheywerefinewiththat.Thejewellerydepartmentwasfundamentallyopen,withanopendefinitionofwhatcanbeconsideredart.”

Armedwiththiscreativecarteblanche,deBoercreatedthefirstsuitsof

A LEAGUE OF HIS OWN

Jeff de Boer has gone

from jewellery design

to creating suits of

armour for mice and

cats, to advocating

that artists be the

CEOs of their creative

enterprises.


armourforcatsandmiceinschoolin1986,combininghisnewskillsinjewelleryconstructionwithhiswell-forgedknowledgeofarmourmaking.AftergraduatingfromACADin1988,hecontinuedontomakemousearmourforcommission,spendingupto200hoursonasuit,workingwithmaterialsthatincludesteel,silver,brass,bronze,nickel,copper,leather,fibreandwood.

Fromthere,onetypeofworkledtoanother,includingsteampunkspacegearandlarge-scalepublicinstallations,suchasthegiantwind-uptintoysintheregionalterminaloftheCalgaryInternationalAirport.WhiledealingwithcorporateclientsdeBoerwasinspiredtoshifthowheviewedhimself,believingthatartistscouldalsobeinnovators,leadersandpresidents.“IstartedtothinkofmyselfasaCEOofmyowncreativity,equaltoaCEOinanycorporationthatcametomeforwork,”heexplains.“Andthatwasthegamechanger.”

HisnewgameleddeBoertoembracethemakermovement,whereartistscollaboratewithengineers,designers,fabricators,accountantsandotherprofessionalsonprojectsthatfeaturecreativeusesofpracticalskillsandpracticalusesofcreativeones.AcoupleofyearsagoheconvenedthefirstmeetingoftheLeagueofExtraordinaryMakers(LEXM),whichnowhasabout100membersworldwide,collaboratingonprojectssuchaswearabletechnologyfashionandacost-effectivelarge-format3Dscanner.Theyhavealsotakentheleadinpushingforaworld-class,30,000squarefootmakerfacilityinCalgary.

Atthesametime,hehastakenhisworld-classartisticskillsbacktohisalmamater,teachingaJewelleryDesignandPresentationclass.Helovestheopportunitytomentoryoungtalent.“BecauseI’maworkingartist,teachingisanopportunitytosharereal-worldskillsthatareconstantlychangingwithstudents.I’malwaystestingoutnewideaswithstudents,

andfindsometimesthattheyhaveasmuchtoteachmeaboutnewideas,”saysthe51-year-old,whoreceivedACAD’s2014AlumniLegacyAwardandtheBoardofGovernorsAlumniAwardofExcellenceforhisprofessionalandartisticachievements.

OneofthelessonsthatdeBoerpassesontoyoungartistsistotrulyvaluetheirwork,especiallyinadayandagewhengovernmentcaresmoreaboutbottomlinesthancreativeexpression.Hepointsoutthatsuchexpressionisimportantbecauseartanddesigncanaddvaluetolocalproductsanddifferentiatethemfromthefloodofcheaplymass-manufacturedonescomingfromoverseas.

“IfinditironicthatpoliticianswouldgetonaplanetogotoParisorItalytoseeart,”hesaysfromhisCalgarystudio,whereheworkswithhiswife,Deborah.“Buttheywon’thaveanyofitintheirbackyard.Well,howdotheythinkParisandItalygotfineart?Theyhadaculturethatinvestedinit.”

Left: "Cyclone", 2006, steel, barbed wire. Photo courtesy of the Glenbow Museum. Right: Dragon Cat, 2012, steel.


A WANDERING TALENT

For interdisciplinary artist Elisabeth

Belliveau the medium doesn’t matter

– it’s the ideas that count.

ElisabethBelliveauisaJillofmanytradesandamasteroflayered,nuancedexpression.

Shehasledawanderinglifematchedbyafar-reachingtalentthat’shardtodescribe.The35-year-oldisaninterdisciplinaryartistwholistsdrawing,stop-motionanimation,writingand“makingthings”asherareasofexpertise.Addtothissculpture,graphicnovelcreation,textileportraitsandtattooartandyoucanseeshe’shardtopindown.

Asachild,Belliveau’sphysicalwanderingbeganwhenherfamilymovedfromAntigonish,NovaScotiatoCalgary.AfterahighschooltriptotheAlbertaCollegeofArt+Design,shewentfrom“notevenknowingyoucouldgetadegreeinart”toenteringthesculptureprogramatthecollege,in1997.

“ThiswasprobablythebesttimeIhadasanartistinmywholecareer,”sherecalls.“Weallkindofjustmovedinandlivedinthecollege.Weweretheredayandnightandslepttherehalfthetime.Itjusttookovermylife.”

AftergraduatingwithaBFAinsculpture,in2006,BelliveaubegantomovetodifferentcitiesandtakeaseriesofresidenciesinplacesthatincludedVenice,NewYorkState,SwedenandNewfoundland.Alongthewayshediscoveredthatanitinerantcan’treallypursueacareerinsculpture,shippingaroundcastconcreteandbronzepieces.Shestartedworkingonasmallerscale,writing,teachingherselftodostop-motionanimation(“buildingwholeworldsinaverysmallspace”)andrampingupherdrawingskills.

Tokeepherfriendsuptodatewithhertravels,Belliveaustartedtomake’zines,meldingherburgeoningdrawingandwritingskills.ThengreattalentmetgreatluckwhenabookpublisherdiscoveredherdrawingsinacoffeeshopandcommissionedBelliveau’sfirstbook.HerDon’t Get Lonely, Don’t Get LostcollectionofshortstoriesanddrawingswaspublishedbyConundrumPressin2010.Andthisyear,

Elisabeth Belliveau


Self portrait drawings, Elisabeth Belliveau


Conundrumisscheduledtoreleaseherfourthbook,One Year in America,agraphicnovelthatdrawsontheartist’sexperiencesinfigureskating,inCanada,UnitedStatesandtripsabroad.

Atthesametime,shehasdonesoloandgroupshowsofhervariousformsofwork,garneringanAlbertaFoundationoftheArtsCreationGrantin2013andanACADAlumniHonourAwardin2014.Ofherwide-rangingartisticfocusBelliveausays,“I’mnotinterestedinstickingtoonemedium.Formeideasaremostimportant.Iwanttofindtherightmediumtoconveytheidea,ratherthanbeinglockedintoacertaintradition.”

SheisabletogiveherinterdisciplinaryfocusfullreignatConcordiaUniversity,inMontreal,whereshereceivedherMFAinstudioartsandnowactsasavisitingassistantprofessorinARTX.Theprogramencouragesstudentsto

“questiontheboundariesoftraditionalartdisciplinesandengagethecreativepotentialoftransdisciplinarypractice.”

“ToteachatConcordia,”shesays,“ItrytorememberwhatwasmostvaluabletomeasIdidmyundergradatACAD.Wehadsuchanimmersive,intensecommunityandteacherswhowerejustsogenerousthatIwanttogiveback.”

Notsurprisingly,Belliveauisn’tcontenttositstill.Atthetimeofinterview,shewaslookingforwardtoasummerfreeofteachingduties,whereshecouldconcentrateonherownwork.Shehadjustputthefinishingtoucheson One Year in America,wasgoingtofinishshootinganewanimationandwaspreparingaexhibitfortheAlbertaFoundationoftheArtsthatwilltraveltheprovinceoverthenexttwoyears.

Andwhat’snextforBelliveau?Well,anything,anywhere.Thepossibilitiesareendless.

Above: “Go So we may see”, 2013, 2.5 minutle loop, silent.

Photos courtesy: Elisabeth Belliveau


Nurturing art, growing creativity Our Generous Partners

Enbridge’scontributiontotheartsislikeaspectrum,acontinuoussequenceofrelatedideas,andEnbridgerepeatedlyhonoursthiscommitmentthroughvariedandmeaningfulinitiatives.Onespecialinitiative,thePresident’sEmergingArtist+DesignerProgram,supportsartistsatbothendsofthecareerspectrumandshowcasesawiderangeofartworktoEnbridgeemployeesandvisitors.

AstheleadingsponsorofthePresident’sEmergingArtist+DesignerProgram,EnbridgeexhibitsartworkbyACADstudents,alumniorworksfromACAD’sIllingworthKerrGalleryintheircommunityreceptionareawhereitisaccessibletoallemployeesandcompanyguests.Anewexhibitisprogrammedapproximatelyeveryfourmonths,providinganopportunitytoshowcaseavarietyofworks.

“AtEnbridgeweunderstandthatlifetakesenergy,andthattheenergyinartengagesusandinspiresus,”saysD’ArcyLevesque,VicePresident,EnterpriseCommunications,EnbridgeInc.“ThatiswhyweareproudtopartnerwithACADtosponsoremergingandestablishedartistsinAlberta,andtobringpoignantworksofarttoouremployees.”

Enbridge’spartnershipwithACADprovidesopportunitiesforemployeestomeetandminglewiththeircoworkersforthought-provokingdiscussions,andgivesthemasenseofprideknowingthattheircompanypromotesandvaluesinnovativethinkingandacreativeculture.TheexhibitsatEnbridgenotonlyacquaintemployeeswithworksofart,theyprovideavaluablelearningtoolforACADfacultyandstudentswhoselectandcuratealltheexhibits.Theycreateabridgebetweenartistsandthecommunityduringon-siteeventssuchaslunchandlearns,receptions,andartisttalks.

Blake Little. John Cross, Nanton,

AB. Colour photograph, 2012

Black Little. Bob Koch, Nanton,

AB. Colour photograph, 2012

Spotlight: Enbridge Inc.Supporting a spectrum of art


$50,000 and overEdmontonCommunityFoundationEnbridgeInc.

$25,000 to $49,999AlbertaFoundationfortheArtsAnonymousDonors

$10,000 to $24,999CalgaryArtsDevelopmentAuthorityCanadaCouncilfortheArtsCorusEntertainmentInc.CriticalMassProductionsInc.EstateofRodJStuartShawCommunicationsInc.TheCalgaryFoundation

$5,000 to $9,999Mr.BillChomikandMs.DianeChomikMs.SheilaO’BrienandMr.KevinPetersonMs.MaryL.RozsadeCoquetMr.JamesStanfordMr.MichaelJ.TimsandMrs.RenaeN.TimsMs.LoriVanRooijenandMr.CourtneyShearerCalgaryExhibitionandStampedeRozsaFoundationUnitedStatesConsulateGeneralXEROXCanada

$2,500 to $4,999Mr.MorrisDancygerandMrs.AnnDancygerMr.DougFletcherMs.SharonMartensMs.RoxanneMcCaigandMr.MarkBartkoMrs.M.CarolRyderACADStudents’AssociationBarlowBrothersLtd.RotaryClubofCalgaryCommunityServiceFundTDInsuranceMelocheMonnex

up to $2,500Mr.AlanBriksMr.DavidL.CaseyDr.DanielDozandMrs.DeniseSmythe-Doz

Mr.WilliamF.DumaandMrs.AnneDumaMs.LoriFaganMr.GregoryJ.ForrestandMs.MargoHelperMs.GwynneHughesMrs.AdrienneC.JenkinsMs.JoanneA.JohnsonMr.MichaelE.LobsingerMrs.AnnMarieMacEachernMs.JaneE.McQuittyMr.RobertL.MelvilleMr.JackMoxnessMrs.DoreenOuchiandMr.ConradOuchiMr.AllenPrattandJoanAldisMr.BretG.ReinboldMr.JimSellersandMs.JudithBaderMs.DianaSherlockMs.MarleneSternMrs.PennyStoneMs.DeborahStuartMr.MichaelStuartMr.ThomasStuartMrs.DianneTaylor-GearingMrs.BarbaraTetzlaffandMr.CarlTetzlaffMs.IreneTraudtMs.DawnValcourtMrs.SusanVeenhovenMs.LauraVickersonMr.BrettWilsonA.U.P.E.Local071/006ACADAlbertaPottersAssociationCalgary/BanffPhotographyFestivalSocietyCalgaryBoardofEducation-EarlGreySchoolCanadaHelpsChinookEnergyInc.ConsulatGeneralofFranceMarshCanadaLtd.Robinson’sCameraCentreLtd.TeamTELUSCaresTheCameraStoreTheCityofCalgaryUnitedWayofCalgaryandAreaVistekLtd.

UndertheEnbridgeleadsponsorshipofthePresident’sEmergingArtist+DesignerprogramwithACAD,Enbridgeproudlypresentstwoscholarships.One,theEnbridgeAlumniProfessionalDevelopmentAwardisawardedannuallytoanACADalumnuswhoisestablishedintheircareer.Thisyear,the$5,000awardwaspresentedtoBeverleyTosh,whograduatedwithDistinctionfromACAD(Painting,1985)andalsotaughtatACADfrom1988-2002.Tosh’sOne-Way Passageisawarbridesseriesbasedonherpersonalhistoryandhasbeenexhibitednationallyandinternationally(readaboutBevToshonpage54).

Asecondscholarshipispresentedtoanaspiringyoungartistwhodreamsofmakingarttheirprofession.TherecipientofthisawardisselectedfromACAD’sShowOff!,ajuriedexhibitionofhighschoolstudents’workfromacrossAlberta,NunavutandtheNorthwestTerritories.Thewinner,chosenbyapanelofACADfacultyandanEnbridgeemployee,willbeassistedintheirartisticdevelopmentthroughthepaymentoftheirfirstyearoftuitionattheCollege.

“ACADisdelightedtopartnerwithEnbridgeonthissignificantsponsorshipasitprovidessupportforarteducationscholarshipsandentrepreneurialexperiencesforartstudents,andcreatesaplatformbywhichextraordinaryyoungtalentisshowcased”,saysKaraTersen,ACAD’sDirectorofPhilanthropy+Communications.“Itisclearthatwiththeirsupport,EnbridgeiscultivatingandpreservingaspectrumofartactivityatACAD,withintheircorporatewalls,throughoutCalgary,andbeyond.”

ACADisproudtocelebrateEnbridgeastheleadsponsorofthePresident’sEmergingArtist+DesignerprogramforthreeyearsfromJanuary1,2014toDecember31,2016.

About Enbridge Inc: Life takes energy. And for more than 65 years, Enbridge Inc. has been fueling our quality of life, delivering the energy our customers need to live their lives to the fullest. To do this, Enbridge operates the world’s longest crude oil and liquid transportation system and we own and operate Canada’s largest natural gas distribution company. We also help to generate more than 1,800 megawatts of renewable and alternative energy. At Enbridge, we are proud of what we do and how we make life better. Because when the energy our customers invest in life meets the energy we fuel it with, amazing things happen. For more information about how Enbridge fuels our quality of life through the transmission, distribution and generation of energy, please visit enbridge.com.

Donations made in the 2013/14 fiscal year.

Thank-you for your generosity!


Nurturing Art, Growing Creativity Our Generous Partners

Spotlight: The Calgary Foundation

TheCalgaryFoundationhasalongandrespectedhistoryinfacilitatinginvestmentinvitalcommunityprogramsbyconnectingdonorswithorganizationswhocontributetotheeconomic,socialandenvironmentalwellbeingofthecity.EvaFriesen,PresidentandCEOofTheCalgaryFoundation,believesthatartisadrivingforceinmaintainingCalgary’slong-termsustainabilityandfinancialgrowth.

“Theartsareoneoftheelementsthatcanmakeagreatcityevengreater”,saysFriesen.“Theartscananddoinspireandencouragecreativityinall

ages,createconversationsaroundsocialissues,anddriveoureconomybycreatingmarqueeeventsthatattracttourists.”

Friesen,whohasbeenatthehelmofTheCalgaryFoundationsince2005,hasconsistentlydemonstratedthisbeliefinthepowerofthearts.In2012-13,theorganizationwaspartofasteeringcommitteeforCalgaryArtsDevelopment,taskedtoproduceanartsdevelopmentstrategyforCalgary.Together,theyengagedover1,000voicesthatproducedLivingaCreativeLife,anartsimplementationplantoengagepeopleofallagesandwalksoflife.

ACADhasbeenasignificantbeneficiaryofTheCalgaryFoundation’scommitmenttotheartswithTheCalgaryFoundationsupportinganumberofspecialinitiativegrantsatACADthroughoutthepast20years.Thisyear,TheCalgaryFoundationmadeagranttoACADthatenabledtheCollegetobeakeypartnerinahistoricalexhibitandinternationalsymposium,Stronger than Stone.Thissymposiumbringstogetherworld-renownedartistsandthinkersandgaveACADanimportantopportunitytocollaboratewithlargeinstitutionsandgalleriesincludingtheUniversityofSaskatchewanandtheMendelArtGallery(readmoreaboutStronger than Stone onpage7).

Inadditiontogrants,TheCalgaryFoundationprovidesongoingfinancialsupporttoACADstudentsthroughaninterestingmixofscholarshipsandotherawardsfundedthroughdonor-directedfunds,including:

Eva Friesen –

Opening doors for

investment in the arts


Be a superhero! Whether helping individual students, lending a hand with new initiatives, or providing support where it’s needed most, superheroes like you actively shape the future of ACAD.

Everyone has something unique to offer. Choose to support ACAD in a way that’s meaningful to you.

• TheM.James&ElsieMathiesonCharitableTrustFundannualscholarshipsinphotography

• TheJanetMitchellScholarshipforpromisingstudentsinthevisualarts

• TheOwenScholarshipforsingleparentsstudyingpart-time

• TheNewzonesGalleryofContemporaryArtGraduatingScholarshipsupportingahighachievinggraduatestudentinpainting,drawingorsculpture

• TheNicoleJenniferCreigMemorialScholarship

• TheJames&LillianBuddAwardforstudentswithdisabilities

• TheSusanAgopsowiczScholarship,AlumniandFriendsAward

Thenumerousscholarships,grantsandotherawardsthatTheCalgaryFoundationfacilitatesanddirectstoACADhavetangibleresultsintherealworld.SaysFriesen,“ACAD

shouldbesoproudthatcountlessACADgraduatesaremakingremarkablecontributionstoourcommunity,country,andbeyond”.ACADgraduateshavegoneontostartsuccessfulcompanies,contributebeautifulartworktothecity’spublicspaces,teachandmentoryoungpeopleinthecommunity,fostercreativityandentrepreneurshipinallindustries,anduseartasawaytohealtoinspirepeopleinallsegmentsofsociety.

FriesenmakesastrongpointthatACAD’sroleextendsbeyondtrainingandeducatingthosewhowanttomakeacareerinfineart,designormediaarts.ACADplaysavitalroleforpeoplewhohaveothercareersandarepassionateabouttheartsasafundamentalpartoftheireverydaylives.Throughitseducationprogramandbyitsverypresenceinthecommunity,ACADcanopenthedoorforeveryonetoliveacreativelife.

FormoreinformationaboutTheCalgaryFoundationandhowtosupportACADthroughgrantsandscholarships,pleasevisitthecalgaryfoundation.org

Support ACAD

BECOME A MEMBER

OF THE ACAD SQUARES

PROGRAM

WanttobepartofavibrantandexcitingACADcommunity?Becomeasquare!TheACADSquaresprogramisanannualgivingprogramwhosemembersenjoyspecialeventsandlecturesthroughouttheyear,whileenrichingtheACADstudentexperiencethroughourvisitingartistandstudenttravel+mobilityprogram.

BECOME A CORPORATE

SPONSOR

Whenartmeetscommerce,weallbenefit.Businessandtheartsareanaturalteam,eachbenefitingfromthestrengthsoftheother.Ourcorporatepartnersmakeitpossibleforemergingartiststoproduceworkthatreachesdeeperintothecommunity,inspiresdiscussion,andfosterscreativitytoalargerextentthaneverbefore.

CONTRIBUTE TO AWARDS

AND SCHOLARSHIPS

Besomebody’shero.Makingendsmeetasafull-timestudentcanbetough,butyoursupportcanmakeiteasierforemergingartistsanddesignerstofocusontheirstudies.YourgifttoACADscholarshipsandawardsgoesdirectlytopayingfortuition,equipmentandsuppliesforstudents.

OTHER WAYS

TO SUPPORT ACAD

•Endowmentfunds•One-timeormonthlygiving•Legacygifts•Tributegiftstoremembersomeoneorhonouraspecialevent

Don’t see what you’re looking for? Get in touch with us to discuss possibilities. Your contribution is vital to ACAD’s continued leadership in cultural development and artistic research and we thank you!

How to donateYou can donate online at acad.ca/ways_to_give, email [email protected] or call 403-284-6238.


Nurturing art, growing creativity Our Generous Partners

RecentACADgraduateKrisWeinmannwantstostayconnectedwithhisalmamatertowitnessthevisualculturethatisactivelybeinggeneratedthere.“It’senergizingandinspiringtokeepclosetotheschool.Itletsmekeepmyfingeronthepulseofnewartisticideasandopportunities.”ItiswhyWeinmannchosetobecomeanACADSquaresosoonaftergraduating(hegraduatedin2012withhisBFAinpainting).InfacthewaspartofthecommitteethatdefinedthenewlylaunchedACADSquaresprogramthatfacilitateslearningopportunitiesforACADstudentsandfostersaconnectionbetweentheCollegeandthepublic.

ItisthisconnectionthatWeinmannsaysisvitalforthelong-termsustainabilityofACAD,andinturnforourcityandprovince.Hebelievesthatwhathecallsa“languagebarrier”existsbetweenthegeneralpublicandartists,wherethepubliccan’tquiteconnectthedotsastohowtheartscontributetothegrowthofthecity’seconomyandenrichitsculturalfabric.“OncepeoplestarttorecognizetheimportanceoftheartsandhowsignificantlyACADgraduateshaveimpactedtheircity,that’swhenwe’llbeinabetterposition

tocompetewiththerestoftheworld.”HepointstoCriticalMass,HeavyIndustriesandF&DSceneChangesasexamplesofhighlysuccessfulorganizations,allestablishedbyACADalumni,whichhavesignificantlyimpactedthecityfrombothaneconomicandculturalperspective.

TheACADSquaresprogramenablescelebratedandsuccessfulartistsfromaroundtheworldtovisitACAD,enhancingclassroomexperiencewithreal-lifeglobalbestpractices.ThesevisitingartistshelpequipACADstudentswiththetoolsnecessarytobecomesuccessfulaftergraduation.Theprogramalsofacilitatesstudentsandfacultytoattendresidenciesandtravelprogramsanywhereintheworldwheretheycanenhancetheirpracticethroughlessonslearnedfromartistsindifferentcultureswhohaveadifferentwayoflookingattheworld.

Weinmannisastrongbelieverthatstudentsneedtoengagewiththeworldandunderstandwhatisouttherebylearningnewmethodologies,seeingunfamiliarvisuallanguages,andexperiencingdifferentcultures.TheACADSquaresprogramallowsstudentstotakewhattheylearnfromvisitingartistsorthroughtheirown

travel,addittotheirreservoirofinformation,andsynthesizeitintotheirownwork,cultivatingstrongerandbetterartisticpractices.

ForWeinmann,theACADSquaresprogramisameansforACADtocelebrateandpromoteitsachievements.OneofthebenefitsofbeinganACADSquareisbeingabletomeetandinteractwiththestudentsandseefirst-handhowtheCollege’seducationprocessworks.“Whenpeopleparticipateinclassroomworkshopsthereisoftenamagicthatoccurs”,saysWeinmann.ThismagictranslatesintoafulleranddeeperunderstandingofhowACADanditsgraduatesimpactourcity’svisualculture,ourrelationshipswithothersinthecommunity,andthetangiblesocietalbenefitsthatarisefromthis.Inthisway,theACADSquaresprogramconnectsthedotsbetweenartistsandthegeneralpublicandenablesmemberstochampionACADasaworld-classartsandculturehub.

There are multiple levels of membership in the ACAD Squares program, each with special benefits. For more information or to become an ACAD Square please visit acad.ca/acadsquares or email [email protected].

Spotlight: ACAD Squares

Kristopher Weinmann

- Supporting visual

culture


Board of Governors

Daniel DozispleasedthatthispastyearACADapprovedanewBoardChair,onereappointmentandfournewBoardmemberstotheAlbertaCollegeofArt+DesignBoardofGovernors.

Carol RyderassumedtheroleofChairoftheBoard.Ms.Ryderbringsawealthofpost-secondaryexperiencetoACADandiswellknownasalongtimesupporteroftheartsandculturalcommunityinCalgaryandAlberta.ShehasledthetransformationofBowValleyCollegeandwasinstrumentalinbringingCalgary’sartscommunitytogetherunderoneorganization–ContemporaryCalgary.

Susan ThomashasbeenontheBoardforthreeyearsandhasbeenreappointedtotheBoardforanotherthree-yearterm.Ms.ThomasisaregisteredinteriordesignerandprincipalatWorkingSpacesInc.Herexpertisehasbreadthanddepth,withhands-onexperienceindesign,facilitiesmanagementandcommercialreal-estatedevelopment.

Loradonna Botterisagloballyacclaimedorganizationaldevelopmentandhumanresourcesexecutivewithextensiveexperiencetransformingorganizationalculturesandbuildingcapacityatalllevels.SheiscurrentlyanorganizationaleffectivenessanddesignspecialistatCanadianNaturalResources.

Larry ClausenistheVicePresidentandManagingPartneratCohn&Wolfe(West).Hehasmorethan25yearsspecializinginintegratedcommunicationsolutionsdesignedtoblendthescienceofmanagementwiththeartofcommunication.Mr.Clausenisaleaderonprovidingstrategicplansforclientsthatreflectsocial,culturalandeconomictrends.

Reid Cummingshasastrongbackgroundinfinanceincludinginternalaudit,compliance,investigationsandinformationservices.HeiscurrentlyaDirectoratEncanaCorporation,isacommunitymemberonACAD’sFinanceandAuditCommitteeandhasheldnumerousprofessionalandvolunteerrolesincludingCMA,CalgaryChapter.

Martin KratzleadstheIntellectualPropertyGroupandco-leadstheeCommercepracticeforBennettJonesLLP.Heisaninternationallyrecognizedlawyerintheareasoftechnologylaw,technologytransactions,cloudcomputingandoutsourcing,informationandprivacylawandtheprotectionandcommercializationofintellectualproperty.

ThesenewpublicmemberswilljoincurrentBoardmembers,Mr. James StanfordwhochairstheFinanceandAuditCommittee,Ms. Cynthia Moore,whochairstheGovernmentRelationsCommittee,Ms. Natasha

Pashak,theAlumnirepresentative,Mr. Greg Forrest,alawyerandstrongartssupporterinCalgary,Mr. Ian

Fitzgerald,theFacultyrepresentative,andMr. Dan

Barnfield,theACADstaffrepresentative.

ACADbidsawarmTHANKYOUtodepartingBoardofGovernormembers:Mr.JimPeacock,Ms.SueAnnValentine,Ms.SheilaO’Brien,andMs.MargaretJeanMannix.YourcontributionstotheCollegehavebeeninvaluable.

The Board of Governors plays a very important part in the ongoing

governance of ACAD.

Workingwiththepresident,academicandadministrativeofficers,andACAD’sAcademicCouncil,theBoardofGovernorsholdsfiduciaryandoverallresponsibilityforthewelfareoftheCollege.ACAD’sBoardconsistsofmembersfromtheexternalcommunity,twointernalBoardmembersdrawnfromtheACADcommunity,electedbyfacultyandstaff,aswellasastudentrepresentative.ACAD’sPresident,Dr.DanielDoz,isalsoamemberoftheBoardofGovernors.

TheprimaryresponsibilitiesoftheBoardofGovernorsaretoadvanceACAD’smission,toprovideorganizationaloversight,andtosetpolicyandinstitutionalprioritiesfortheCollege.


BOARD OF GOVERNORS GRADUATING STUDENT AWARDS Ceramics Byron RempleDrawing Jake Klein-WallerFibre Christine ThomsonGlass David MartinJewellery + Metals Brittany SteinhublMedia Arts + Digital Technologies Nick HeerPainting Deepechhya OjhaPhoto Bobby NgPrint Alyson PaulsonSculpture Alexandria InksterVCD Advertising Mary Kathryn PresceskyVCD Character Design Micaela de BoerVCD Graphic Design Ruth LeeVCD Illustration Ryan Pearse

ALUMNI AWARDS Alumni Legacy Award Jeff de BoerBoard of Governors Alumni Award of Excellence Jeff de BoerAlumni Horizon Awards Matthew Bourree Larissa Tiggelers Kristopher Weinmann Alumni Honour Awards Brian Batista Elisabeth Belliveau William Bewick Jaan Poldaas Chad VanGaalenAlumni Legacy Awards Jeff de Boer Tammy McGrath Bev ToshTD Insurance Meloche Monnex Alumni Awards Steve Cottingham Julia JungwirthEnbridge Alumni Professional Development Award Bev Tosh

ENTRANCE AWARDS 3M Direct Entry Scholarship Emily StoneACAD Entrance Awards Logan Echols Nathanael Evans Dale Feeler Taryn Garrett Khloe Ilsley Taryn Mallas Riley Meek-Schulz Michelle Novak Ellen Patterson Miles Petrick Sheyenne Smith Derek Sproule Emily Stone Erika (Bronwyn) Von Niessen Haibo XuShow Off Scholarships Kyrsten Lofts Robyn ShouldiceContinuing Arts Association First Year Scholarship Alexandra Hodgson

STUDENT SCHOLARSHIPS + AWARDS ACAD Drawing Community Service Scholarship Victoria Braun Keesha PalmerACAD First Year Studies Scholarship Andrew Argue Mariah Brusatore Jordan Chow Haley Craw Saje Damen

Megan Feniak Elizabeth Friesen Nicole Haywood Jamie Kroeger Martina Laird-Westib Michelle Lazo Yao Li Joelle Lino-Wiseman Emilie-Justine MacPhail Tierra Marasse Hannah Palmer Gabrielle Parent Mary Sanche Claudia Sanchez Daza Adele Schatschneider Mareike Stobbe Claire Taylor Kristina VidakACAD Second Year Drawing Major Merit Scholarship Amanda Chan Jordan SchinkelACAD Second Year Scholarship Vanessa Chaplin Giulia Comin Amy Cornelson Sadia Fakih Brandon Giessmann Mary Haasdyk Emily Hurst Fong Ku Carolyn Mackenzie James Mulholland Mitchell Nabata Kellie Reid Linda Roberts Katerina Slaba Ella Valge-SaarACADSA Second Year Legacy Award Chelsea Yang-SmithACAD Third Year Drawing Major Merit Scholarship Hannah Petkau Sara Rennie Sean TaalACADSA Third Year Legacy Award Stephanie OrrACAD Fourth Year Drawing Major Merit Scholarship Solveig Agecoutay Svea Ferguson Tait WilmanACADSA Fourth Year Legacy Award Anna Burger-MartindaleACAD Sculpture Major Award Emily Promise Allison Nicole TritterACAD Student Travel Scholarship Nicole Brunel Joel Farris Sarah Grodecki Leah Kudel Luke Maddaford Stephanie OrrAlberta Potters Association Ceramics Scholarship Shannon LeardoAlberta Society Of Artists Scholarship Ella Valge-Saar Morgan PinnockArtstream Scholarship Jessica RobertsonBarbara + John Poole Family Scholarship Fund Emily Promise Allison Carlin Brown Erin Campbell Philip Kanwischer Jake Klein-Waller Leah Kudel Tait Wilman

ACAD Awards + Accomplishments


Bernard Franklin Stockland Memorial Scholarship Frances MottaBob Ranson Memorial Scholarship Carson TofinCalgary Sketch Club Scholarship Giulia Comin Ella Valge-SaarContinuing Arts Association Travel Scholarship Amy Pon Alisa ProshuninaDelwyn Darling Memorial Scholarship Christina Bennett Christopher KohanikDoris Brown Memorial Scholarship Shyla Baron Carlin BrownDr. JC Sproule Memorial Scholarship Mia RileyDr. Ray Sr. And Honey Ray Memorial Scholarship Daniel CleghornEugene Ouchi Memorial Scholarship Taylor PlemelExcellence In Sculpture Scholarship Emily Promise AllisonFibre Major Innovative Deveopment Award Stephanie Orr Sandrine WeltzinFrances A Rodgers Excellence Endowment Mia RileyFrances A Rodgers Scholarship In Ceramics Kelsey MercierFrank Vervoort Memorial Scholarship Nicole BrunelGDC Alberta South Chapter Scholarship Sarah GonzalesGlass Student Fund Scholarship Kate SlabaHarley Brown Artistic Scholarship Tait Wilman Carlin BrownHenry Clinton Scholarship Fund Lauren Shipton Gladzy Kei ZunigaHomesteader’s Legacy Scholarship Toni QuanqIgnac + Karla Herskovic Memorial Scholarship Carlin Brown Leah KudelIgnac + Karla Herskovic Travel/ Fine Art Study Scholarship Kelsey TovellIllingworth Kerr Scholarship Katriona Drijber Fong Ku Christine Thomson Kathryn Cooke Laura Read Svea FergusonJanet Mitchell Award (The Calgary Foundation) Philip KanwischerJanine Trudel + Steve Coughlin + Family Memorial Scholarship Sarah GonzalesJenny Belzberg Endowment Benjamin Gervais Nicole TritterJewellery + Metals Execution of Conceptually Based Work Fei SuJewellery + Metals Fourth Year Studio GPA Anna Burger-MartindaleJewellery + Metals Major Prize Fei SuJewellery + Metals Technical Merit Prize Melanie Archer Stephanie ElderfieldJoane Cardinal-Schubert Memorial Scholarship Alyssa EllisJohn Brocke Memorial Scholarship Matthew NgJohn H. + Kathleen Snow Scholarship Jade CarpenterLarge Glass Award Lusia StetkiewiczLaura Mae Stillings Scholarship Carlin BrownLiberal Studies Essay Prize Victoria BraunM. James + Elsie Mathieson Scholarship (The Calgary Foundation) Stephanie Haynes Philip Kanwischer Taryn Nakamura Bobby Ng Carson Tofin

Media Arts + Digital Technologies Third Year Research + Production Tessa SechayMedia Arts + Digital Technologies Fouth Year Research + Production Mathew LindenbergMedia Arts + Digital Technologies Fourth Year Travel Manuel ErmecheoMedalta Residency Award Adam LefebureMobility + Exchange Travel Scholarship – Winter Kelsey TovellNew York Studio Residency Program Nicole Brunel Morgan PinnockNicole Jennifer Creig Memorial Scholarship Jennifer FedorowichOwen Scholarship (The Calgary Foundation) Kelly ArchibaldPainting Second Year Award Marcia FisherPainting Third Year Award Carlin Brown Nicole Brunel Chloe SaundersPainting Fourth Year Award Erin Campbell Sarah Grodecki Larissa HauckPassion Pages Morgan Pinnock Photography Major Second Year Student Recognition Award Jade TyackePhotography Major Third Year Student Recognition Award William EasonPhotography Major Fourth Year Student Recognition Award Brittany NickersonPhotography Major Public Service Award – Winter Natalia BarberisPhyllis Balm Purchase Award Dayna EllenPhyllis Balm Student Award Karin McginnPilchuck Glass School Scholarship Leah KudelPlainsman Clay Limited Scholarship Ella Valge-SaarPrint Media Travel Scholarship Nicole EdmondPrint Portfolio Scholarship Scott Baird Felicity HartRondi Lee Johnson Memorial Ceramics Scholarship Byron RempleRondi Lee Johnson Memorial Ceramics Community Scholarship Catherine DaleRyan Lovett Painting Scholarship Oliva StecklyShaw Communications Professional Opportunity + Experience Award Amy PonStanford Perrott Innovative Projects Scholarship Leah Kudel Stephanie Orr Jiyi RheeStudio At The Corning Museum of Glass Brianna GluszakSusanne Agopowicz Memorial Scholarship Anna Burger-Martindale Keesha PalmerTD Insurance Meloche Monnext Career Award for Graduating Students Lyndsay WaskoThe Calgary Herald Centennial Scholarship Lauren ShiptonTyler Johnson Memorial Scholarship Nicole BrunelTyman And Victor Bronz Memorial Glass Scholarship Graeme Dearden



Documents

ACAD Catalyst Fall 2014