ArtsBridge Fall/Winter 2010

A publication of the Allied Arts Council of Lethbridge (AAC)

Fall/Winter

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Publisher Allied Arts Council of Lethbridge 318 . 7 Street South Lethbridge, AB T1J 2G2 T: 403.320.0555 F: 403.320.2450 info@artslethbridge.org www.artslethbridge.org Publication date October 2010 Administration Suzanne Lint Executive Director Jana MacKenzie Office Services & Finance Ashley Markus Communications Vanessa Eagle Bear Reception Programming Claire Hatton Education & Facility Services Darcy Logan Gallery Services

Board of Directors PRESIDENT Barb Cunningham VICE PRESIDENT Gloria Torrance TREASURER Mike Thiel

Fall/WInter

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SECRETARY David Renter DIRECTORS Christopher Babits Carolla Christie Sarah Christensen Shirley DeBow Tyler Gschaid Melissa Manieri Les Ostrowski Ian Randell Kim Siever Elizabeth Songer For additional copies contact the AAC office.

No part of this publication may be reproduced without the written consent of the publisher.

director’s

message

September, the start of the new arts season!

The launch of the arts season in Lethbridge saw many citizens engaging with our local arts community to celebrate Arts Days.

Lethbridge was recognized by the province as one of five 2010 Arts Days Celebration Flagship cities and the Allied Arts Council (AAC) was delighted to work in partnership with many community arts and cultural organizations, as well as over 200 artists to bring the weekend to life.

A significant event during the week end was the grand re-opening of the recently renovated and expanded Southern Alberta Art Gallery. The SAAG renovation/expansion project is the first of the arts facility improvement projects to be completed. The second project – the Bowman Arts Centre Replacement – is in the final design stages this fall and funding potential for the third project – a new Performing Arts Centre – is being investigated.

The design of the new community arts centre (pgs 13 & 14) considers the environment and has taken in to account environmental factors such as wind, sunlight and snow. The building will use environmentally-conscious elements such as passive solar heating and natural building materials.

The environment no doubt inspires the arts community. Whether it is work that represents the beauty of our surroundings, work that interacts with nature or work that speaks about the importance of protecting the environment, Lethbridge and area artists are deeply rooted in the landscape.

This edition of ArtsBridge focuses on the connections artists have with their environments.

ber of groups and partnerships are forming around the arts and environment. The Southern Alberta Science and Art Collective (pgs 2 & 3) brings local artists and scientists together for conversations, field trips and collaborative projects. The Helen Schuler Nature Centre’s Drawn into Action project (pgs 6 & 7) taught both school children and adult participants about the importance of the environment. The Southern Alberta Community of Environmental Educators (SACEE) combines art and environmental education to create unique learning experiences (pg 15).

Much of art that focuses on the environment serves to educate. A number of musicians (pg 16) are performing and writing music to raise awareness and inspire change.

Lethbridge artist Troy Nickle challenges us to think about the relationship between culture and nature in his work (pg 14) and Eileen Murray draws on her relationship with the environment, whether it is natural or human made, to learn more about her self (pg 4).

We are fortunate to have such an inspiring rural and urban landscape that continues to inspire amazing art in our city. As Lethbridge’s arts community continues to grow, our relationship with the environment will continue to evolve. It is my hope that the dialogue between humans and the environment demonstrated by artists in the following pages will continue.

Suzanne Lint Executive Director

A recurring theme emerges when contemplating the arts and the environment; that is community. An increasing num-

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&art

A new collective of artists and scientists has come together in Lethbridge; appropriately named the Southern Alberta Science and Art Collective.

The idea for this group was by way of Rose De Clerck-Floate; a Scientist/entomologist who researches invasive plant biological control. She wanted to do more; “to get on the field rather than just sitting in the stands”. She started the group because of a deep-seated need to make a difference with respect to the environment and to engage the public on urgent environmental issues. “I believe that this can be done through art. I have heard it mentioned by others that scientific knowledge is not enough to engage people, the messages have to involve emotion and go deeper within us...to be cognitive.”

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collective

science

Southern Alberta

De Clerck-Floate organized an inaugural “think tank” and potluck supper to pull together a small group of artists and environmental scientists for a few of hours of dialogue, thinking and creating to generate ideas for communicating environmental issues to the public through art (e.g., water issues in Southern Alberta, the realities of climate change, the impact of invasive species to name just a few topics). Although the idea of environmental art is not new, De Clerck-Floate felt that “Lethbridge would be a perfect environment for such a project because we have the artists, scientists, landscape and energy for it.” At the inaugural gathering, the group discussed the scope of the project, how the two groups perceived each other, and how they would work together as a group. The decisions were to: 1) Take a celebratory approach (versus activist) in engaging the public.

2) Focus on what is local and unique (i.e., to southern Alberta) as a theme.

3) Get to know each other as separate groups and individuals (e.g., artists and scientists) before launching into a major project.

A second evening was held at the SAAG where each artist and scientist gave a short presentation on what they do in their work. The group then took a rangeland tour in July to the foothills near Stavely. The tour was led by Barry Adams; a rangeland ecologist and John Dormaar; a rangeland soil scientist. The two explained the natural history, human history and science of the foothill rangelands, and guided the group across the wide, rolling rangeland landscape. The walk-about was made even more dramatic by the drifting of large lingering storm clouds. De Clerck-Floate says:“The group went from the healthy, lightly-grazed pasture to the diminished, heavily grazed fields and stopped at each to assess and develop a picture of the situation. What emerged was a collective shift of both our perspective and appreciation of a unique natural ecosystem in southern Alberta, as revealed by science. Many of the artists and scientists will draw from this experience in their work. And so the mutual, human experience of two normally separate groups (artists and scientists) will ripple out to touch others.”

Leanne Elias is one of the participating artists who has been involved in the group since its formation. Elias works in mediums such as photo and video, as well as being a web designer. She became part of the collective when she was contacted by De Clerck-Floate. Ryan Doherty, curator at the SAAG had provided a list of possible artists who he thought may have been interested in the project.

Elias is paired with Frank Larney, a Soil Scientist. Despite having conflicting schedules over the summer, they managed to connect on the Rangeland Tour in July. Frank works with feedlots and their compost, and Elias plans to visit him on his work site soon to see his work up close.

When asked about what she has learned so far from the collective, and what the value of artists and scientists getting together, she answered: “The passion that all of the scientists show for their work is motivating and inspiring. There is an incredibly rich body of knowledge that these scientists have, and the opportunity to collaborate with them is pretty exciting. I think that they are artists at heart, because when they describe their work they use very visual terms. In fact, there are many similarities between the two groups: we both question incessantly, we both rely on research to come to a conclusion (whether that conclusion is data or a finished artwork), we both feel the need to communicate to others. There are probably some other ways that will be revealed as we work as well.”

“

I think that they are artists at heart, because when they describe their work they use very visual terms.

In talking about plans or ideas for her collaboration with Larney, Elias emphasized the process rather than the finished product, which seems to be an important theme in the project: “Although I know there will be some excellent projects that come out of this collective, I also think that the conversations we have been having until now are also just as important. Sharing of knowledge – whether over coffee or on a full-day tour – can be transformative.” AB

The collective has started a blog at scienceandartcollective.wordpress.com where many of the artists and scientists have shared their work, thoughts and impressions.

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”

Art as Life on the Prairies An Interview with Eileen Murray

Local artist Eileen Murray lives on a farm near Brooks, AB and is currently undertaking graduate studies at the University of Saskatchewan. She works in non-traditional forms of photography and painting and often combines mediums to create mixed media work. She investigates notions of self, auto biography, memory, the passage of time and cultural identity in her work.

Her recent show at the Bowman Arts Centre, The Myth of the West explored the western tradition of branding cattle. As the wife of a rancher, her role within the tradition involves administering injections to calves, doing paperwork and cooking, much the same as her role as mother and wife. Murray exploited this allocation of roles by using lens distortions and textured papers which created a veil as to what was actually depicted in the photograph.

When reflecting on how living in a rural area affects her artistic practice, she remarked: “The difference between art and life often disappears. When you live in a rural area, you have no choice but to be constantly engaged with your surroundings.

Conversations often revolve around the weather, the land and the farm because that is your everyday life.” Murray also talked about the feeling of remoteness, and how it can be beneficial to an artistic practice because of the constant immersion in the landscape.

When thinking about the abundance of creativity on the prairies and whether the landscape has anything to do with it, Murray noted: “I think the landscape definitely contributes into the level of creativity in our area. When you are in a big city, you don’t necessarily engage with the natural landscape as readily as you do in a rural setting. Here you are forced to engage with the land every day, our huge sky and prairies aren’t blocked by large buildings.”

Though her work is often about landscape, she chooses to represent it non-literally: “I do not wish to represent the landscape by recreating an image of the landscape. My goal is to create an atmosphere within the gallery that will encase the viewer in the feeling of landscape.” Murray has developed an increased interest in the relationship between the body and 4

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the environment. After battling with cancer, her interest in self portraiture as a form of therapy and documentation developed as her body changed throughout chemotherapy and radiation treatments. In her emerging work, based upon the landscapes of rural Saskatchewan and Emma Lake, she explores her relationship to the land and finding her place in it again: I attended the Emma Lake Artist Workshop in 2005 and again in 2009. The experience in 2005 was one of

dislocation and personal tragedy; my father had just been

diagnosed with cancer and I had discovered a lump in my

breast. Although my Father and I were born and he raised in Saskatchewan, the landscape during this time was foreign

to me, it was cold and did not whisper the poetry of memory.

In 2009, three years after his passing and my clean bill of

health, my experience at the workshop was one of self imposed

inquiry -where am I, and where do I fit in this landscape?

Where have I been? Where shall I go and what will inform my journey?

I was interested in discovering the cultural

text that is myself through an investigation of familiarity

with the unknown and an interpretation of the fictional narratives of found memories.

In this work she layers images of herself in images of empty and decomposing rural buildings and landscapes. The lingering feelings remaining from her illness are explored- disorientation, alienation, and abandonment are echoed in empty landscapes, devoid of preservation and maintenance.

Eileen’s work exposes the intimate connection many artists have with the landscape. Her investigation of personal history, loss and gain is deeply rooted and connected to her rural environment and sense of place. “I document experiences within my surroundings, personal circumstances and traditional dogmas. The work is a space to reflect, re-assess and re-consider ‘self’.” Watch for Eileen’s next show; Imaginings from Emma at the CNP Public Art Gallery in Frank, Alberta from May 23 - July 3, 2011. AB

The Stories We Tell scroll

By Carolla Christie, Visual Artist & Allied Arts Council Board Member

Much of art is about telling stories– about ourselves and the world we live in. Art helps define who we are, what we do and where we fit within our environment. A great deal of art shows how we view our environment while some art addresses concerns about the environment. Trudi Lynn Smith’s recent exhibition at the SAAG, Finding Aid, explored the gap between our photographic representations of places and the real thing. The architecture at the Galt Museum (especially the viewing gallery) welcomes in the

It can be said without reservation that most visual artists (at least the ones I know) certainly don’t make art for financial gain. Thus, it could be said that the issue of whether a community supports its artists or not is moot. That would be approaching the whole matter from a completely wrong perspective.

It is here science tells us additional stories- told with computers, projections

board blog

a substantial inventory of work that, for a variety of reasons, will likely remain so for some time. Let’s just refer to it as Van Gogh Syndrome, though few if any will ever gain that artist’s posthumous fame.

Let’s, instead, view it from the community point of view. In some ambiguous way there is a symbiotic relationship that exists between visual artists (and probably other

environment. At Nikka Yuko Gardens, the buildings live in harmony with the environment... an environment that is carefully controlled. The Lethbridge Symphony Orchestra’s presentation of A Tone Poem this February is based on impressions of the badlands and their history.

But the environment is only half the story- if we wish to act on these stories we need to know the facts. What effect will our actions have on the environment?

and math. It has been said that art supplies meaning, art is a mirror we hold up to ourselves to see more clearly. When you look at art, think for a moment about the stories that are being told. Does the art promote understanding or protection of the environment?

There are many local artists telling stories about our environment; their work creates awareness and can help us all be mindful of the stories we tell. Everyone, not only artists and scientists, tell their stories about the environment; in the way we live, the arrangement of our houses and yards and in our actions in our community. AB

Check out the Association for Literature, Environment, and Culture in Canada’s website www.alecc.ca

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n w a r D into action

tion” d “Drawn Into Ac ng Project calle pi ap M of ity un ou m l as to a gr p ating a Com 2009/10 as wel has been facilit in re s nt ol Ce ho re sc l tu ler Na at loca The Helen Schu was presented s. The program th on m ne ni over the past mmer of 2010. ce bers over the su em m ity un for the importan m com d appreciation an g in nd ta rs ng r unde mappi e. No previous develop a greate participants to t and experienc r fo en is em the m lv ra vo og in sh pr humans ape h first hand The aim of the berta and how Alberta throug Al rn rn he he ut ut So So t te in with w ecosys ms more abou of biodiversity rstanding of ho desire to learn a de st un ju r d, tte ire be a qu e was re social and ts formed or art experienc ing economic, ture. Participan nc fu la e ba th of to in es d ng are e challe e present an portray and sh le exploring th landscape in th learned how to eryday life, whi d ev an r ei n io th at ct rm w pa s im this info mmunity ide and watershed displayed in co unity. They took m be m ill co w s a ap in m ith The needs w borative maps. environmental in creative, colla nd la e th ber). t ou em ab pt e ions in Se what they valu ts Days celebrat Ar ’s ar ye is th g udin bridge area, exhibitions (incl trip in the Leth ld fie l ca lo ng lo e day workshop, a on in-class mapping y da 2 1⁄ a ed ud rk.

The project incl to Waterton Pa gional field trip re ng lo y da e and a on out the journey.

Coordinator, ab t ec oj Pr ng pi ity Map ersol, Commun talk to Laura Pi to ce an , has become a ch a t We go awn into Nature Dr d lle ca t, ec ping proj llaborative, d youth. The co community map A an ts y. er tis ar ov , sc ts di lis als , natura struments of ed the individu r local students Maps can be in process challeng interpretation fo e d Th an t. g ar in d ar an sh e y, er scienc journey of discov as a meeting of ies of place. e; to tell the stor s been described ap ha t sc ec nd oj la e pr d th se atures of fieldtrip-ba give voice to fe participated to ho w ps ou gr d an

is for the program The aim of lop a greater ve e d to ts participan e iation for th c re p ap d an undertanding y within f biodiversit o e c an rt o p im lberta Southern A 6

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ity Group The Commun

Each map n tells its ow unique story and in the process of mapping each und individual fo their own ry... personal sto

irrored landscape is m ying within the ud st e ar sol. e w at s atures th ram”, note Pier l and cultural fe gs to the prog ra in tu br na p of ou ity gr a rs ity As e dive ance art. t commun “Interestingly, th ory to perform s that our adul st nd hi ou to gr ry ck st re ba from fo ctives variety of on everything various perspe in the amazing weave together are able to draw e at w th e es nc ic rie vo pe of ex ration “From their life ally is a collabo the field trips re on ng ni ar le e result, th unity iration”. the adult comm and sprout insp arked on how m re l so il er Pi ; pe ive being” took up a nc ork of a collect “artists” boldly w es e lv th se is k em or th w ll to ca ” as they id “My were reluctant d “leafy spurge Goethe once sa is: “Those who as “riparian” an th ch ed su ifi e pl ds or em w ex w science hich th picked up member group ding of art and entify as artists en id bl lf a se is at m th ra e og thos of the pr to sketch, while ry. At the heart ience vocabula sc r ei th nd pa began to ex d ly enjoyed.” perceptions an participants real time; so too do er ov ge an ch s w of a place e many map ns expressed in me more aware co sio vi be di e e w ad As .

-m d, it is und us s and man lue it. In the en atures that surro The boundarie mething, we va d the natural fe so an te ilt ia ec bu on e pr th ap m ith ture is a co m e. When we relationships w neral love of na pects of it mor ge as a e d m an so es te lu ia prec ideas, va visions they can’t help but ap . “This sharing of is in the current ve th er ar es he pr ill ly w al e re can the lue that w at represented rticipating. You the things we va a fabric skirt th ity members pa m un fro m g m in co e ng ra th in s y of ea with the on map theme for man gs of how an ar embers worked tin M in l. pa so er lic Pi ry ys ac s, to aps”, sa found on coulee have for their m llage of wildlife co o ot ph a to Oldman River the seasons. ges throughout watershed chan

e Group g A lo o h c S The

eir gratitude ect expressed th oj pr e th in ed had rticipat ct on what they students that pa udents to refle middle school st r 50 fo to n e of ve os gi cl on e as th e that w fit in with e The teachers of re and the tim osystems” as it tu ec na r in la ith cu w rri n io cu th cross rconnect together e in the project’s sed on the “inte grasslands link cu d fo an ps ed ou sh gr er e at s and w the w part in. Th mountain peak s illustrated ho seen and taken unit. Their map g cartons formed e Eg nc . ie ge sc id r br ei th th of and Le the objectives ithin Waterton ents explored w ud st e th d creative. at th ile landscapes all very tact an e er w s ap m e le, ked rivers; th sy school schedu glass beads mar despite their bu t en itm m m d co to be prou of tion and ts have reason showing dedica en t, ar ud st he e to Th t s. ec ap the proj ongside on their m in September al The classes took ys h hour to work nc Da lu ts r Ar ei th ge id on g Lethbr even came in e’s path. e displayed durin some students se art for their lif oo their works wer ch d at an th d ts te en ea cr they y for stud the pieces that showing of man is was the first th , lly cities fu pe Ho . where farmers, other artists king landscape” or “w a of eds. e ne ns acing a se d economic rta means embr vironmental an be en Al , al rn ci he so ut us So ithin of vario eakers. These Conservation w meet a balance ries of guest sp se to a er h th ug ge ro to th k t ned projec ust all wor ted during the not only underli and industry m ervation work ives were presen ns ct co pe d rs an pe e ng us hi to nd nnection this ology, ranc These various la ecology, archae their personal co in ed s ar nd sh ou so gr al t ck eir ba tion bu speakers with th mes to conserva tion when it co ra bo lla co of the importance y home. n personal stor place we all call found their ow al du vi di in ch ping ea process of map story and in the ue iq un n hern Alberta. AB ow So its ral sites of ut ltu Each map tells cu d an l ra tu na d to the unique ithin Southern more connecte biodiversity w of ce an rt po t the im 03) 320-3064. arn more abou y or contact (4 ogram, or to le lle pr Va e r th ve t Ri ou an ab e e Oldm To find out mor ee Centre in th en Schuler Coul el H e th t si vi Alberta,

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W

Whetstone Literary Weʼre back!

A f te r m o r e t h an a de c a de l o n g h i at u s W h e t s to n e m akes its r e-debut.

Although the name is familiar to some, the resurrection is not without changes.

Over ten long years of publication blackout have resulted in a re-energized group of people anxious to rebuild the University of Lethbridge’s own literary magazine. For those who aren’t familiar: Whetstone was established in 1971 as a literary magazine that published poetry, prose and visual art. With a dedicated editorial team, committed advisors from the English faculty and donations from the community, Whetstone was able to produce an annual medium for the poets, writers and artists of the area. Eventually publishing biannually, the magazine ran until the winter of 1999.

Now fast forward a little to 2009.

One of our faculty advisors, Dr. Jay Gamble, informed of us Whetstone’s history and sparked an interest in the publication of a literary magazine. A preliminary meeting drew over twenty students, all vying for a position on the editorial group. The initial enthusiasm and strong interest in reviving the University’s long forgotten literary magazine had bolstered the desire to renew the publication.

The collective decided to remain as Whetstone. The rural flare of the sharpening

by Rylan Spenrath, Managing Editor, Whetstone

stone remained a fascinating banner for a magazine that was published out of southern Alberta. The rich, thirty-year tradition was difficult to ignore and it seemed an honor, rather than a burden, to carry that name back into present. However, after a ten-year intermission it seemed as though Whetstone was due for an upgrade into the twenty first century.

Our “first” issue embraces our past while taking strides forward.

We have

submissions by four winners of the Striking Prose Competition, poetry that plays with form and space including three from prairie poet Robert Kroetsch and several texts that embody southern Alberta. All of this is held together by the modern, fresh layout design of Braden Yamamoto who has provided a shiny new body that integrates the past and present. Both the content and the container represent the revival of Whetstone, the resuscitation complete with a revamped exterior and a careful adherence to the timeless design of the original. We have the technology and we have rebuilt it, a synthesis of new and old.

Whetstone launched its new magazine at September’s Arts Days celebrations.

There were readers and writers who shared their work as well as representatives of the magazine that answered questions about Whetstone, including our submission guidelines for the next issue (coming this winter). It was a great opportunity to consume, ruminate on and explore the local arts that hopefully inspired many to create their own works of art! AB For more information on Whetstone contact Jay Gamble, 403.382.7178

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Trail Mix

Magazine Returns

With hands gripping the steering wheel First year in college He stares at the Rabbit staring back Think, Think, Think Where can he get some money, Gas gauge is on Elvis poem by Shelly Eli

Ask the Rabbit for help Take pity on me Rabbit Spirit, I have no tobacco to offer Please send me some money, I need to put gas in the car, to get to class all week Dad says you like trail mix I will put some out for you as soon as I can He starts his car Rabbit watches as he drives away, his music so loud Can始t hear what Rabbit says Okay Grandson, I will help you, don始t forget the trail mix No salt, lots of cranberries.

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M any w h o s t a y the weekend shar e a similar under s t anding; we will get dir ty, bug-bitte n , h ot a n d t h i r s t y ;

There’s nothing quite like enjoying the sound of live music in the outdoors on a beautiful day. This past summer’s South Country Fair, “an intimate outdoor, camping-style

The Sounds of the Great

Outdoors

By Ashley Markus

folk and roots festival” was no exception, and got me thinking about the role that the landscape, weather and environment play in creating the fair’s all-encompassing experience. There’s something about a couple thousand people coming together to camp in a prairie valley for a weekend that creates a truly unique experience.

Many who stay the weekend share a similar understanding; we will get dirty, bug-bitten, hot and thirsty; but we will take care of each other and the land. From campsites offering a refreshing spritz of water to passers by on a hot afternoon, to guided tours explaining medicinal and edible plants in the area, or a labyrinth made completely of local found stones, the feeling of community and kindness abounds.

One of the most memorable features of the fair is going for a dip in the Oldman River when the heat is sweltering.

As I had missed the last few years of the fair, I was amazed to see a new route carved out into the forest that led to the new swimming area. We soon adapted and enjoyed walking on the new path and discovered the rusty remnants of decomposing cars in the forest; left over from a time gone past. I was surprised to see how the Oldman River had changed; and the former swimming spot and islands were now flooded out and deemed unsafe. The change in the river and landscape mimicked the changes in life; after 10 years of going to the fair, life has changed too. We don’t often notice small changes in the landscape such as how a river gradually carves out a new path. It’s nice to be able to return to the fair grounds once a year and see the subtle changes that aren’t noticed day to day.

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b ut we w i l l t a ke c ar e o f each other and the land.

It’s refreshing to see first hand the power that nature can

By the end of the festival, many were yearning for some

still hold over humans; these days it seems to be the oppo-

sort of crescendo; to help the festival go out with “a bang”.

site in most cases. And part of the fair experience is about

The weather had been consistently hot, and the sometimes

adapting; fair goers didn’t seem bothered by the new route

Saturday night thunderstorm (and resulting Sunday morn-

to get to the river, but rather happy to start a new tradition.

ing mudslide) had not taken place. The closing act of the festival was Delhi 2 Dublin; a high energy, Vancouver-based

Mark Whitehead, dedicated fair-goer shared his thoughts on

band combining an energetic mash-up of Bhangra, Celtic,

the changing river and its impact on the festival:“The course

Dub Reggae and Electronica. Fair goers were notably tired

of the Oldman has changed quite a bit over the years, and

from the weekend’s festivities, but as the band played its

has had a big impact on the fair. Definitely wetter years are

first few songs, the air got muggy, the skies clouded over,

always more mosquito prone; during the flood of 2005 a

and the energy grew; an approaching summer storm

lot of the campground was part of the river. Because of all

appeared.

the flooding then and now, the access to the lower campground will forever be changed.”

The band belted out their songs and shook their fists at the clouds as fair goers squeezed in as much

When asked if he had any memories that

as they could before the oncoming downpour. The

stood out of amazing interactions between

crowd of dancers and the band had an unspoken

the music and landscape, Mark recollected:

understanding to squeeze in every last bit of

“I remember a powerful thun-

bliss before the summer storm. It held off un-

derstorm during McQuaig’s

til the band finished and the resulting crowd

performance about five

was quickly ushered home by the downpour.

years ago. Lightning

Experiences such as this are a unique part

and thunder were the

of South Country Fair, and they provide a

perfect counterpoint

grounding experience that keeps fair goers

to the raw energy of

coming back, year after year. It’s an awe-inspir-

Mcquaig’s celtic-punk

ing experience to see the environment and

bagpipes.”

the arts working together to create something genuinely beautiful. AB Check out past photos from the fair at www.scfair.ab.ca.

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[

]

By Kim Siever, AAC Board Member, Chair- Community Arts Centre Steering Committee

Lethbridge’s Community Arts Centre

Next Steps LETHBRIDGE’S NEW COMMUNITY ARTS CENTRE IS BECOMING A REALITY. THE SITE OF THE FACILITY WILL BE ON THE CORNER OF 8 ST AND 3 AVE S; BETTER KNOWN AS THE OLD IGA SITE. THE COMMUNITY ARTS CENTRE WILL SHARE THE SITE WITH THE FUTURE PERFORMING ARTS CENTRE, WHICH WILL BE A SEPARATE BUILDING AND UNDERGO A SIMILAR PROCESS AS THE ONE DESCRIBED BELOW.

The Community Arts Centre is replacing the worn-out and deteriorating Bowman Arts Centre; a facility the Lethbridge arts community has long outgrown. The Allied Arts Council (which manages the Bowman and its programming) and the arts community have been lobbying for a new facility for decades and they are gratified to see the project being realized.

The Community Arts Centre won’t be just replacing the Bowman, it will be so much more.

The University of Lethbridge Conservatory of Music has also been running short on space at the university for years. With the announcement earlier this year regarding the Community Arts Centre, the Conservatory saw an opportunity to partner with like-minded individuals in order to secure additional space that is in a more central location. Having the Conservatory as a partner in the facility expands the offerings, making it a truly multigenerational, multi-disciplinary environment. Programs will share foyer space, meeting rooms, administration space, rehearsal and storage space, washrooms and dressing rooms.

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ARTSBRIDGE

Shortly after the Community Arts Centre was announced, a public call out was made for three community representatives to serve on the Community Arts Centre Steering Committee. This committee was formed by the City of Lethbridge and included representatives from arts groups, Bowman staff, Conservatory staff, Allied Arts Council staff, City of Lethbridge staff, and members of the general public.

The steering committee then spent significant time combing through thousands of pages of proposals from architects from throughout Canada and the United States. After meeting with the shortlisted candidates, the committee came to a consensus on an architect team. The committee ultimately selected local architectural firm Ferrari Westwood Babits who was partnering with Calgary-based Pendergast Nyhoff Collaborative Architecture. The committee met with the architectural team—Art Ferrari, Dan Westwood, Christopher Babits, Jane Pendergast, and Kevin Nyhoff—several times over the summer, and a preliminary design was finalized toward the end of August. The design was presented to and approved

by City Council on September 13.

[

The next step will be to prepare detailed drawings and send out a request for tender. Once all the tenders

CITIZENS

are in, a firm to manage the construction of the Community Arts Centre will be selected.

WILL BE ABLE TO ENROLL

The Community Arts Centre will be a focal point of the arts in Downtown Lethbridge. Citizens will be

THEMSELVES

able to enroll themselves and their children in dance, music, pottery, drawing, and painting classes. It

AND THEIR

will house a gallery for exhibiting talent from local artists and serve as a collaborative home for the arts groups currently at the Bowman.

CHILDREN IN DANCE,

The 30,000 sq. ft. facility will include classrooms; 3D studios for clay and sculpture; 2D studios for drawing,

MUSIC,

painting, and printmaking; a textile studio, a kiln room; a wood workshop; exhibition space; meeting

POTTERY,

rooms; a community space for theatre or music/dance rehearsals; dressing rooms; a dance studio and

DRAWING,

music practice rooms.

AND PAINTING CLASSES.

]

Finishing, lighting, and millwork inside will be durable and industrial-looking though warm. This, as well as the building form, will highlight the creative experimentation that is the essence of a community arts centre. Works will be visible through interior walls and display boxes so passersby will be able to see art as it unfolds.

The exterior will express the interior activity, so the city can see what’s happening in the building and patrons can see what’s happening in the city. An outdoor plaza will host cultural festival and performances.

Situated adjacent to the recently renovated Southern Alberta Art Gallery and a future Performing Arts Centre—as well as the nearby Trianon and Mueller galleries, the Potemkin studio and Allied Arts Council offices—the Community Arts Centre will be part of a growing and vibrant arts district downtown.

If everything goes according to plan, late in 2012 we should see a beautiful two-storey building in the heart of downtown that glows with excitement and inspires the imagination. AB

ARTSBRIDGE

13

Working in Tandem with Nature

By Andy Davies, a Lethbridge-based artist

An Interview with

Troy Nickle

Troy Nickle is a prolific Lethbridge-based land/ environmental artist. Having studied at both ACAD and the U of L, his current work focuses on the integration of culture and nature.

His work has shown in both Lethbridge and Calgary.

AD: Describe your work for someone who doesn’t have any exposure to land or outdoor work.

TN: It varies a lot – I would describe it as environmental sculpture, working with materials found in the environment as well as materials in the studio that may make reference to the landscape or the figure. You could call it land art, I guess.

AD: Do you pre-plan your work?

TN: No- usually, if I am working on an outdoor intervention, the time and place will make the work and it will depend on materials available. If there’s a large amount of driftwood for example, I’m not going to carry it long distances to work with it, I’ll just do the work onsite.

AD: Do you see yourself in a broader movement?

TN: I think so, this kind of thing is happening everywhere with a variety of artists. There are a lot of common universal themes surfacing.

AD: Like what?

TN: The spiral or coil – that’s been done hundreds of times – I don’t know if I want to focus on that, making spirals all the time, in my own work, but it’s a universal image.

“There is definitely an aesthetic thing I strive toward when I create a work, but I consider it more of a gesture, or an event, that takes place.”

AD: Are there other elements, conceptual or aesthetic, that you connect with or that are relevant to the work?

TN: The landscape and the figure seem to be a current theme. Early on in my development as a sculptor, I sculpted from the figure a lot and something about the figure in the landscape references society and culture, and society’s place within the environment. It symbolizes where society works within nature. There is definitely an aesthetic thing I strive toward when I create a work, but I consider it more of a gesture, or an event, that takes place. Also, I like the backcountry ethic of leave no trace. For example, Chris Dury – he would set up a cairn and then dismantle it after he photographed it.

AD: Were you exposed to this kind of work growing up in Lundbreck?

TN: Maybe I had come across cairns and inuksuks when I was younger. In my early college years I was exposed to Richard Long, and after that I traveled and was out in nature a lot.

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ARTSBRIDGE

AD: What is the driver behind your art?

TN: I think part of it is connecting with the environment, getting into nature, working to create something that is about place, material, form, and the process itself. I really enjoy being in that process, from going on walks, then spending time on the intervention and then documenting it.The responses people have are also important. I get pretty good feedback, so it seems that things I am doing are resonating. On my blog it says that my work is about the relationship between culture and nature, and I think I haven’t really explored that fully. The idea that culture, that I am culture, creating organic forms and bringing that to nature - putting the figure in the environment, that’s the idea. I haven’t fully resolved that aspect of it.

AD: You’re involved in the Southern Alberta Science and Art Collective- who are you working with?

TN: I plan to meet with a retired geologist named Doug Patterson. The idea is to explore each other’s background and to collaborate in some way. I would like to learn more about geology to broaden my understanding of the earth and how the formation of the mountains, hills and coulees that surround us occurred. I enjoy exploring topographies in my sculpture so working with Doug will be a good opportunity.

AD: What’s in store for the future? What would be your ideal “magic wand” scenario?

TN: Working with large format cameras, travel, experience cultures outside of this geographic area and exhibit installations or sculpture as a result of my experiences. Magic wand? Maybe I’d be showing alongside Long and Goldsworthy at the London Tate or Bilbao Guggenheim in 5 or 10 years. That would be good. AB

See more of Troy’s work at: www.troynickle.blogspot.com

Environmental Education & The Arts

go Hand in Hand for SACEE

nature

inspires

art

The Southern Alberta Community of Environmental Educators (SACEE) believes nature inspires art and art builds awareness and inspires a love of nature in a unique way. Together, the art and nature partnership is a powerful means to build our stewardship potential, and sustain an abundance of thriving special, wild places! The mission of SACEE is to create inclusive, meaningful opportunities to learn and grow from eclectic perspectives, forming respectful, collaborative, and cooperative partnerships.

SACEE connected art, science and nature in a big way through the Canadian Nature in Mind Arts Festival in February 2008, where having fun building meaningful relationship with our neighbours and ecosystem in an environmentally friendly way through the arts was the goal. With a core group of volunteers and various sponsors including the Southwest Alberta Teacher’s Convention Association, six internationally celebrated musicians from across Canada gathered in Lethbridge co-creating the Festival with over 200 local musicians, artists, actors, dancers, poets and volunteers, sharing their talent and inspiring over 2000 people from across southern Alberta. In May 2010 Paul Bohnert, Director of SACEE, was recognized by the Global, Environmental and Outdoor Education Council of the Alberta Teachers Association with a Merit Award for his work with the festival.

The ripples and returning waves of the Festival are big, and still being felt, with visiting artists keen to participate in a second Canadian Nature Festival. In the future SACEE hopes to host a second Canadian NatureFest with a good mix of local and international flavour. In the meantime they are planning the Neighbourhood NatureFest; celebrating Special Places through the Arts in a 10-day guided discovery experience. The events take place from October 10 – 20, and are being offered in conjunction with the start of SACEE’s Neighbourhood Stewards and Nature Clubs mentorship program. For current information visit their website at www.sayee.ca. AB

ARTSBRIDGE

15

t

e n la P e h t r Playlist fo

David Suzuki, What is this world trying to do to me?

Will the sun burn a hole right through me?

Will a hurricane blow me away?

Lyrics by Rob Ursel

Lethbridge born, Calgary based musician and songwriter, Rob Ursel recently entered his song David Suzuki, into CBC Radio 3’s Playlist for the Planet. The contest was sponsored by the David Suzuki Foundation in celebration of their 20th anniversary. Musicians were asked to submit their original songs about the environment and over 600 entries were submitted from across Canada. The songs were posted on the CBC Radio 3 website where the public listened to and voted on their favourites.

The top song for each province will be included on an upcoming CD, David Suzuki’s Playlist for the Planet.

Votes were narrowed down to a list of five finalists for each province; and Ursel’s song, David Suzuki was among the top five for Alberta. “A few people approached me to enter the contest” said Ursel “they thought the song fit in well with the theme.” The song is a tongue-in-cheek “poke at apathy.” Ursel said he was motivated to write the song after watching the evening news on TV: “all the news is these days is one disaster after

another, so I wrote the song to bring up some of the issues. But I didn’t want to be preachy or whiny, so I chose to do it through humor.” The song is set to a Hawaiian-esque melody.

Though Ursel’s song didn’t receive the top vote for Alberta, he was happy to have his song chosen as one of the top five. He remains firm that action should be taken to stop further destruction to the environment; but also that our sense of humour and play should remain intact. “If we lose that, we are recklessly tossing out an integral part of what makes us human in the first place.” AB

You can listen to Ursel’s song at www.reverbnation.com/robursel To learn more about David Suzuki’s Playlist for The Planet visit www.davidsuzuki.org

Gr een Key s Tour Frank Horvat, a Toronto-based pianist, composer, and teacher recently performed at the Lethbridge Public Library as a stop for his Green Keys tour.

Green Keys is a 50 stop, year long crossCanada tour promoting eco-sustainability.

Horvat performs his original piano compositions and improvisations; a mix of classical and popular styles - from Liszt to Satie to Philip Glass. The highlight of the concert is the performance of “Earth Hour” a continuous 1-hour piano piece inspired by, and performed in the dark.

A portion of the proceeds from the sale of Horvat’s new CD, “A Little Dark Music”, go to the World Wildlife Fund - CDs are still

available online. The Lethbridge stop of the Green Keys tour was supported by Bullfrog Power, Spirit in Motion Yoga, Lethbridge Public Library, and Lethbridge Branch of the Alberta Registered Music Teachers’ Association.

Horvat has taken steps to increase the sustainability of the event by:

« Using concert venues powered by Bullfrog Power « Not printing programmes at the concerts, but rather using a digital screen to display the programme « Using sustainable and public modes of transportation as much as possible « Packaging CDs on FSC paper using vegetable inks « Offering download cards (made with recyclable plastic) instead of having to purchase physical product « Sheet music for sale is printed on FSC paper « Ensuring public transit is available to all venues AB For more information on the tour visit www.frankhorvat.com

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ARTSBRIDGE

In Memoriam:

Marjorie Carlson

By Frances Schultz

A Weaver’s Life On July 10, 2010, the weaving community lost a great friend and weaving companion with the passing of Marjorie Carlson. She was an inspiring weaver, creating wonderful textiles that were then sewn into classic garments. As a long time member of the Lethbridge Handicraft Guild, she shared her enthusiasm for, as well as her knowledge of, the art that she practiced so diligently. While best known for her creative textile weaving, she tried all aspects of weaving from rugs to fine table linens.

Marjorie was introduced to weaving at a community centre class in the mid 1960s. She then learned to work on larger looms with her husband’s uncles and aunt in the 1970s. Shortly after, she started carding and spinning raw wool. She then joined the Taber Weaving Guild, and later the Lethbridge Handicraft Guild. These contacts allowed her to expand her weaving knowledge, and enabled her to become deeply involved in the weaving community.

Moving to Lethbridge in 1989 enabled her to spend more time at the Lethbridge Handicraft Guild and share her love of weaving. When the Guild celebrated its 50th anniversary by designing the City of Lethbridge Tartan, she was very involved in the design and weaving process, and afterwards proudly wore her tartan skirt on many occasions. She was also actively involved in helping plan and host

While her family benefited the most receiving her creations, she

several provincial conferences in Lethbridge. She actively supported

also shared them with the public through various shows as well as

the Handweavers, Spinners and Dyers of Alberta both as a member,

through the guild sales. Many members cherish the pieces they have

and as an attendee at the yearly conferences, but also serving as the

that were woven by Marjorie. Her creativeness, willingness to share,

Southern Area Representative for many years.

and her enthusiasm for her art will be missed by her many weaving friends. Her legacy will live on. AB

Marjorie spent a great deal of time studying and being current on the trends of her art. She had a great sense of colour, and was not afraid to use it. The quality of her materials, her colour sense, and her dedication to fine weaving were her hallmarks. She attended many regional and international conferences to take workshops and meet other likeminded artists. Many of her garments were shown at provincial and international weaving shows. She shared this knowledge and these experiences freely with others in the Guild.

ARTSBRIDGE

17

MAYOR’S LUNCHEON Thank You

...for business & the arts

2010 AACE Awards

ALLIED ARTS COUNCIL AWARDS OF EXCELLENCE

Individual

Service Organization

Business

Carol Roberts

Southminster United Church

Clear Sky Radio

Joan Waterfield Memorial Award George & Nellie Mann

Thank you to our event partners

The Allied Arts Council (AAC) is a registered not-for-profit organization with the mandate to advance the arts in our community. The AAC supports artistic

support the arts

endeavours that enhance the quality of life for individuals and our community.

The organization is supported by its members, corporate and private donations

AAC membership

and annual fundraising activities. Support is gratefully received from:

CONTACT THE AAC OFFICE FOR A LIST OF BENEFITS & FURTHER INFORMATION NEW MEMBER

RENEWAL

Name Business (if applicable)

New Members: Feb 15/2010 – Sept 15/2010

Address City

Individual Members:

Allied Members:

Aaron A. Keeling Mike Judd Wendy Lipinski Cliff Yanover & Lynda Hartley Ruth P. Christie Jon Pryde Todd Lacharite McQuaid Family Alyssa McQuaid Rhianna Barron Melissa Manieri Matt Robinson Sharin Peters Jessica Ens Len Komanac Jonathan Legg Karen Romanchuk Tracy Somerville

Lethbridge Community Taiko Association N.A.A.G Wind City Kids Festival

Associate Members:

Province Postal Code Telephone Facsimile Email Website

Rhino In The Room Elusis Beads Beyond Zed Gift Cottage Lethbrige Masons Lodge #39

Allied Organization

$75*

Artist

$25*

Associate

$75*

Friend to the AAC

$15

Family Friend to the AAC

$25

I would like to make a donation of $ TAX RECEIPTS WILL BE ISSUED FOR DONATIONS

CREDIT CARD INFORMATION Visa

Mastercard

Total Donation and/or Membership amount

Card# Expiry Date Signature CHEQUES ARE PAYABLE TO THE ALLIED ARTS COUNCIL OF LETHBRIDGE

I am interested in becoming an AAC volunteer *Inclusion in 2011/2012 AAC Arts Directory

of events calendar of october

Empress Theatre . . . . . . . . . . . . . .

Emily Smith, BBC ‘Scots Singer of the Year Oct 7 & 8, 8pm Galt Museum & Archives. . . . . . .

Galt Hospital 100 Years Until Dec 5, 2010 Archives Exposed... Towns Around Until Jan 30, 2011 The Fabric of British Home Children Until Jan 30, 2011 Oktoberfest Oct 15 Lethbridge Folk Club . . . . . . . . . .

Howling Wolf Open Stage Oct 8, 8pm

Lethbridge National Park Oct 29 - Jan 14 Helen Christou Gallery

University of Lethbridge Faculty of Fine Arts . . . . . . . . . . . . . . . . . . . . .

Uncommon Women and Others by Wendy Wasserstein Oct 19 – 23, 8pm University Theatre The Good Egg by Michael Lewis MacLennan Oct 28 – 30, 8pm, Matinee: 2 pm, Oct 30 David Spinks Theatre Vox Musica . . . . . . . . . . . . . . . . . . .

U of L Ensembles Showcase Concert in honour of incoming president Dr. Michael J. Mahon Oct 5, 8pm University Theatre

Ray Bonneville Oct 9, 8pm Howling Wolf Open Stage Oct 22, 8pm Lethbridge Symphony Orchestra. . . . . . . . . . . . . . . . . . . . .

Homecoming, with guest, Stewart Grant Oct 9, 8pm Southminster United Church City of Angels Oct 18-20, 8pm Yates Memorial Centre Mueller Art Photography & Gallery . . . . . . . . . . . . . . . . . . . . .

Robert Froese: Ceramics in the Japanese Style Until Nov 7 Playgoers of Lethbridge . . . . . . .

“One for the Pot” Dinner Theatre Oct 19-22 Sandman Hotel SAAG. . . . . . . . . . . . . . . . . . . . . . . . .

On Your Marks Until Nov 14 Welcome to My World Until Dec 5 University of Lethbridge Art Gallery . . . . . . . . . . . . . . . . . . .

Art Gallery Open House Oct 15, 10am to 1pm Main Gallery Jamelie Hassan: At the Far Edge of Words until Oct 29 Main Gallery Shifting Myths until Oct 24 Helen Christou Gallery

1

ARTSBRIDGE

Oldman River Potters Guild . . . .

Christmas Sale Nov 29 & 30, 10am - 8pm Bowman Arts Centre

SAAG. . . . . . . . . . . . . . . . . . . . . . . . .

On Your Marks Until Nov 14 Welcome to My World Until Dec 5 Trianon Gallery . . . . . . . . . . . . . . .

Potemkin Artist Collective Exhibition Nov 20, 9pm opening Trianon Gallery and Le Petit Trianon Gallery University of Lethbridge Art Gallery . . . . . . . . . . . . . . . . . . .

Lethbridge National Park Oct 29 - Jan 14 Helen Christou Gallery Promising Objects Nov 5 - Jan 7 Main Gallery

NOVEMBER

november Bowman Christmas Sale . . . . . . .

Lethbridge Artists Club, Lethbridge Handicraft Guild of Weavers, Lethbridge Society of Stained Glass Artists, Chinook Woodturning Guild, Oldman River Potters Guild, Textile Surface Design Guild Nov 26, 10 am - 9 pm, Nov 27, 10 am - 4pm Bowman Arts Centre, 811 5th Ave S Empress Theatre . . . . . . . . . . . . . .

Chic Gamine Nov 19 & 20, 8pm Galt Museum & Archives. . . . . . .

Galt Hospital 100 Years Until Dec 5 Archives Exposed... Towns Around Until Jan 30, 2011 The Fabric of British Home Children Until Jan 30, 2011 Adopt-an-Artifact Fundraiser Nov 1-30 Lethbridge Folk Club Heather Blush and the Uppercuts Nov 6, 8pm Howling Wolf Open Stage Nov 12 & 26, 8pm Linda McRae with Ken Hahm Nov 27, 8pm All shows at the Wolf’s Den Mueller Art Photography & Gallery . . . . . . . . . . . . . . . . . . . . .

Robert Froese: Ceramics In The Japanese Style Until Nov 7

Culture Vulture Saturdays: Button Making Nov 20, 10am - 5pm Centre for the Arts atrium University of Lethbridge Faculty of Fine Arts. . . . . . . . . . . .

Opera Around the World Nov 5 & 6, 8pm University Recital Hall Glen Montgomery in Recital Nov 20, 8pm University Recital Hall Spring Awakening by Frank Wedekind Nov 23 -27, 8pm University Theatre U of L Wind Orchestra Concert Nov 26, 8pm Southminster United Church Vox Musica . . . . . . . . . . . . . . . . . . .

Beethoven Symphony No. 9 Nov 22, 8pm Southminster United Church Magnum Mysterium (collaboration with the U of L Women’s Chorus) Nov 30, 8pm Southminster United Church

DECEMBER december

Empress Theatre . . . . . . . . . . . . . .

Tom Jackson Dec 11 & 12, 8pm Galt Museum & Archives. . . . . . .

Archives Exposed... Towns Around Until Jan 30, 2011 The Fabric of British Home Children Until Jan 30, 2011 Lethbridge Folk Club . . . . . . . . . .

Howling Wolf Open Stage Dec 10, 8pm New West Theatre . . . . . . . . . . . . .

Glitz Dec 17 - 31 Yates Theatre Marooned with Munsch Dec 26 – Jan 8 Sterndale Bennett Theatre Oldman River Potters Guild . . . .

Christmas Sale Dec 1 - 3, 10am - 8pm Dec 4, 10 am - 4pm Bowman Arts Centre SAAG. . . . . . . . . . . . . . . . . . . . . . . . .

Welcome to My World Until Dec 5 University of Lethbridge Art Gallery . . . . . . . . . . . . . . . . . . .

Lethbridge National Park Oct 29 - Jan 14 Helen Christou Gallery Promising Objects Nov 5 - Jan 7 Main Gallery University of Lethbridge Faculty of Fine Arts. . . . . . . . . . . .

Birth of the Cool Dec 1, 8pm University Theatre Classical Percussion Concert Dec 3, 8pm University Theatre Magnificat & Messiah Dec 4, 8pm & Dec 5, 3pm Southminster United Church

JANUARY

january Galt Museum & Archives. . . . . . .

Archives Exposed... Towns Around Until Jan 30, 2011 The Fabric of British Home Children Until Jan 30, 2011 New West Theatre . . . . . . . . . . . . .

Marooned with Munsch Dec 26 – Jan 8 Sterndale Bennett Theatre Oldman River Potters Guild . . . .

Stock Reduction Sale January 27 & 28, 10am - 8pm January 29, 10am - 4pm Bowman Arts Centre

events

Classical Winds Jan 22, 8pm University Recital Hall

Schubertiade Jan 27, 7:30pm Lethbridge Public Library Theatre Original Brass Jan 28, 8pm Southminster United Church Abbondànza Jan 29, 6pm CoCo Pazzo Italian Café Vox Musica . . . . . . . . . . . . . . . . . . .

2011 First rehearsal Jan 11, 7pm U of L, W480

University of Lethbridge Art Gallery . . . . . . . . . . . . . . . . . . .

Lethbridge National Park until Jan 14 Helen Christou Gallery

FEBRUARY february

University of Lethbridge Art Gallery . . . . . . . . . . . . . . . . . . .

A Little History on the Prairies Until Feb 25 Main Gallery Culture Vulture Saturdays: Print Making Feb 5 Centre for the Arts atrium

University of Lethbridge Faculty of Fine Arts. . . . . . . . . . . .

Happy 50th Birthday LSO! Feb 7, 8pm Southminster United Church An Evening of Chamber Opera Feb 11 & 12, 8pm University Recital Hall The Seagull by Anton Chekhov Feb 15 -19, 8pm David Spinks Theatre

Culture Vulture Saturdays: Prairie Ink Drawings Jan 15, 10am - 5pm Centre for the Arts atrium A Little History on the Prairies Jan 14 - Feb 25 Main Gallery University of Lethbridge Faculty of Fine Arts. . . . . . . . . . . .

Big Band Cabaret Jan 22, 8pm U of L Ballrooms (Students’ Union Building) TheatreXtra Jan 20-22, 8pm Jan 22 matinee 2pm David Spinks Theatre

Contact information for each event/organization: Empress Theatre Society empresstheatre.ab.ca

Lethbridge Symphony Orchestra l e t h b r i d g e s y m p h o ny. o rg

Southern Alberta Art Gallery saag.ca

Galt Museum & Archives galtmuseum.com

Mueller Art Gallery s t u a r t m u e l l e r. c o m

Tr i a n o n G a l l e r y 403.381.8888

Lethbridge Folk Club lfc.ab.ca

New West Theatre 403.329.7328

U of L Art Gallery uleth.ca/artgallery

Lethbridge Handicraft Guild of Weavers, Lethbridge Ar tist Club, Te x t i l e S u r f a c e D e s i g n G u i l d , Oldman River Potters Guild & C h i n o o k Wo o d t u r n i n g G u i l d 403.320.5771

Oldman River Potters Guild 403.329.3936

U of L Faculty of Fine Ar ts uleth.ca/finearts/events

Playgoers of Lethbridge 403.327.1947

ARTSBRIDGE

1

Photo by Tanya Plonka.

Tanya Plonka

www.tanyaplonka.com

mailto:info@tanyaplonka.com

403.892.3540