Visual arts & new media

May 5 is Red Dress Day, a national day for honouring missing and murdered Indigenous peoples. It is a day to raise awareness and education about missing and murdered Indigenous women, girls, two-spirit people and men.
 

On the day, people across North America hang red dresses in private and public spaces to remember missing and murdered Indigenous women, girls and two-spirit, lesbian, gay, bisexual, transgender, queer, questioning, intersex and asexual plus people in solidarity with family members and loved ones.

In honour of Red Dress Day, we are featuring two artworks by Faye HeavyShield from the AFA Art Collection: red dress and blood.

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Additional information about blood

The sculpture featured above is one component of a larger installation entitled blood. The installation reflected on Faye HeavyShield's ancestry and identity. 

The diverse elements of the installation included:

• drawings composed directly on the gallery walls
• a solid 3-dimensional rectangular form painted red and covered in miniature cloth red bundles
• the installation of string and red cloth bundles (featured)

These elements depicted the inseparability of the past and the present, and the communal and the personal. The installation explored memory, especially the ritualized and repetitive acts to preserve it.

In the words of the artist:

“My parents blessed me with language, kindness, and strength, my brothers and sisters taught me loyalty, my children give me hope. This is blood.”

About the Artist: Faye HeavyShield

Faye HeavyShield is a member of the Blood Nation.

She graduated from the Alberta College of Art (now the Alberta University of the Arts) in 1985 and continued her studies at the University of Calgary.

Gaining prominence and recognition over the past 20 years, her work has been the subject of many solo shows, including major exhibitions of First Nations contemporary art. Her work is featured in collections of the National Gallery of Canada, the McMichael Canadian Art Collection, as well as the AFA Art Collection. She was one of three artists selected to receive the 2021 Lieutenant Governor of Alberta Distinguished Artist Award in 2021.

In April 2022, it was announced that HeavyShield was the winnter of the $75,000 Gershon Iskowitz Prize at the Art Gallery of Ontario. This annual award recognizes an artist who has made outstanding contributions to Canadian visual arts. 

HeavyShield's work is a fusion of highly evolved personal and powerful imagery influenced by her Christian and Blood upbringing. Her minimalist installations are metaphors of the human body and a reflection of her personal experiences.

Image descriptions

red dress - A bright red dress is hung on a black mannequin stand facing front toward the viewer. The dress has mid-length sleeves splaid to each side, a smal V in the neckline, and a simple seam between bodice and skirt. Across the chest of the bodice are two lines of large white metal and paper tags that hang from a line of glass beads. 

blood - A long column of approximately 30 red strings hang from a ceiling in a gallery space, with hundreds of red cloth bundles tied to each string. Where the column of string meets the cement floor, the strings are laid out to spread away from the centre to create a kind of web around the column.

Every year on April 23, World Book and Copyright Day is celebrated to encourage enjoyment of reading books. Our featured artwork by Audrey Mabee says it all: there is "no such thing as too many books."
 

The artwork was acquired in 2009 through AFA's Art Acquisitions by Application program.

About the Artist:

Audrey Mabee enjoys experimentation with colour and space. Her work has been influenced primarily by artists with a unique drawing style, such as Modigliani. The strong colours of Hundertwasser and Matisse, the fantasies of Chagall and the exquisite patterns of Klimt have also been a major influence for her.

The subjects and colours she uses are intended to make you feel good and smile when you first look at her work. If you find something in them that also makes you think and wonder, all the better.

Image description

In the center of the artwork, a red haired woman is organizing items on the grey table in a room filled with varied colors of books stacked on five shelves on a bookshelf behind her. She is wearing a long sleeved, red shirt and purple vest, where the vest looks like aisles of colorful books. On the table is a beige table lamp with light on shining on the pink tulip, large green mat and an opened book. 

What’s in a name? That which we call a rose by any other word would smell as sweet.
 

~ William Shakespeare, Romeo and Juliet

Today is Shakespeare’s 457^th birthday! To celebrate, this week’s Work of the Week pays homage to an iconic flower mentioned in one of the most famous lines from one of Shakespeare’s most famous plays. Please enjoy Wild Rose by Annora Brown.

Did you know: April 23 is also the day of Shakespeare’s death in 1616?

Need more Shakespeare? Organizers of Edmonton’s Freewill Shakespeare Festival are currently planning this year’s iteration with two plays – Much Ado About Nothing and Macbeth. Get more information on these productions here:  www.freewillshakespeare.com/shows.

About the Artist: Annora Brown (1899 - 1987)

Annora Brown's father was a member of the North West Mounted Police, and her mother was one of Fort Macleod's first schoolteachers.

As a child her mother had encouraged her to draw and paint. She attended Normal school in Calgary, and when she graduated she took a job teaching in a rural school. While on a visit to her aunt in Toronto in 1925 she decided to apply to study art at the Ontario College of Art. She was accepted and began her studies under well-known Canadian artists, Arthur Lismer and J.E.H. MacDonald. One of her classmates was another Albertan, Euphemia McNaught.

After she moved back to Alberta she taught art at Mount Royal College in Calgary from 1929 to 1931. In 1931 she returned to Fort Macleod to look after her ailing mother. While in Fort Macleod she gave art classes in rural Southern Alberta for the Department of Extension of the University of Alberta.

She exhibited with the Alberta Society of Artists in 1931 at the Calgary Exhibition and Stampede even though, at the time, women were not members of that organization. However, in order to comply with the regulations of the Societies Act of Alberta, the A.S.A could not legally exclude women and so she became the first female member of that organization, albeit a token one. She resigned in 1936.

From 1945 to 1950, she taught at the Banff School of Fine Arts. She was a member of the Calgary Sketch Club, an active member of the Handicraft Guild in Fort Macleod, and an Honourary member of the Alberta Handicraft Guild.

In 1971 she received an Honourary Doctor of Laws, Honoris Causa, from the University of Lethbridge. In 1965, she moved to Sidney, British Columbia on Vancouver Island where she continued to paint until her death in 1987.

Working mainly in oils, tempera and watercolour, she is best known for her paintings and drawings of the flowers and plants of southern Alberta, as well as paintings inspired by Indigenous legends. She illustrated many magazines and produced more than 600 images for nearly a dozen books. She was commissioned by the Glenbow Foundation to paint 200 pictures of different Alberta wildflowers, a project that took her over three years to complete. She designed a stained glass window for Christ Church in Fort Macleod and a mural for Crescent Heights High School in Calgary.

She was also an author, and in 1955 she published An Old Man's Garden a series of legends and stories associated with the flowers in the area drained by the Oldman River in Southern Alberta. Following this she published the autobiographical Sketches of Life. Her work is included in many public and private collections, and she received many national and provincial awards, prizes and honours.
 

Every year on April 15, World Art Day celebrates artistic creativity and promotes taking part in art. 
 

"World enough, and time" by Ken Macklin is a meditation on the simultaneous nature of time. A skyward reaching column supports three spheres, representing the historic past, the complex present, and our collective hopes and dreams for the future.

• Translated into emotive colour, the past is expressed through earth tones that evoke the quietude and strength of the natural environment.
• The present is expressed through maroon-red and green, evoking the present concern for the environment, as well as denim blue to symbolize manual labour.
• The future, reaching towards both hope for humanity and awe for the greater context of the cosmos, is expressed through rich black, grey, blue, and silver.

As part of Canada's 150^th anniversary, The Works International Visual Arts Society's Art & Design in Public Places Program (The Places) commissioned five original landmark sculptures along Capital Boulevard which lead to the Alberta legislature. This Project was made possible in part by the Government of Canada, with matching investments from partners: the Alberta Foundation for the Arts (AFA), and the City of Edmonton; and support from the Downtown Business Association, and The Works Society. In addition, all five sculptures were acquired as part of the AFA Art Collection.

• learn more about the Capital Boulevard Legacy Public Art Project - Canada 150

If you are in Edmonton, we encourage you to check out and marvel at the sculpture on Site 5, 108 Street between 103 Avenue and 104 Avenue. (You can also view it online using the button below.)

About the Artist:

Ken Macklin is one of several constructivist sculptors who emerged in Edmonton during the 1980s. Macklin earned his Bachelor of Fine Arts with Distinction from the University of Alberta in 1978 and studied advanced sculpture at St. Martins School of Art in London, England in 1979/80. He has exhibited both nationally and internationally, and has received numerous awards for his work. Macklin is renowned for the creation of large-scale, abstract sculptures.

Image description

The dark grey steel column sculpture supports three spirals. Each spiral steel with woven wire mesh has different colors - grey, blue and orange, red and green.

Happy Canada Day!
 

This week's Work of the Week is Canadian Landscape by Carole Bondaroff. 

Get out and explore this beautiful country – like this mountain scene depicted in Canadian Landscape!

About the Artist: Carole Bondaroff

Carole Bondaroff was born in Montreal, Quebec. She holds diplomas from the Banff School of Fine Arts (painting, 1969) and the Sir George Williams University in Montreal (fine art, 1971), a BFA (fine art, 1973) and a BA (art education, 1975) from the Nova Scotia School of Art and Design in Halifax, as well as an Alberta Teacher’s Licence. In 1976, she moved to Calgary, Alberta where she worked as the Visual Arts Coordinator for the City of Calgary’s Cultural Resource Centre.

Bondaroff is an artist and art educator who has travelled the world to practice her watercolour painting and etching. Her excursions have taken her to Europe and Mexico and across Canada and the United States, including to the Arctic and to the Pacific and Atlantic coasts. 

Her work has been frequently exhibited in Canada as well as in Japan and Spain. She has donated works in support of local and international charities and is represented in many corporate and public collections, including the Royal Palace in Monaco and private collections the world over. 

This week’s Work of the Week is Sea of Fools by Angus Wyatt.
 

Today is the first day of April and that means it’s April Fools’ Day! This artwork by Angus Wyatt depicts multiple images of the classic ‘fool’ or jester.
 

The exact origins of April Fools’ Day is unclear, but according to History.com:

“Some historians speculate that April Fools’ Day dates back to 1582, when France switched from the Julian calendar to the Gregorian calendar, as called for by the Council of Trent in 1563. In the Julian Calendar, the new year began with the spring equinox around April 1. People who were slow to get the news or failed to recognize that the start of the new year had moved to January 1 and continued to celebrate it during the last week of March through April 1 became the butt of jokes and hoaxes and were called “April fools.”

This week’s Work of the Week is Ox and Cart by George Markel.
 

Today is the Lunar New Year and the start of the Year of the Ox. Happy New Year to everyone who is celebrating today!

About the Artist: George Markel (1910-2006)

Folk sculptor George Markel was born in Southey, Saskatchewan. Raised in the rural life, he married in 1932 and farmed with his wife until 1948, when he moved to the province’s capital city for work with Regina Power.
 

After retiring at age 65, Markel moved to Medicine Hat where he devoted himself to sculpture depicting, sometimes humorously, the rural life he knew so well, with a particular focus on horses and pigs. Markel’s whimsy and imagination also prompted him to create sculptures with titles such as Sheeposaur in a body of work built from found materials such as jewelry, fur, branches, buttons, beads, fabrics, and toys.

Explaining how he came to be a folk artist, Markel wrote that one day around 1975, he was shopping and saw a china horse sculpture with a harness on it. The price was over $80—about $350 in 2016. “That was too much for me to pay,” he wrote. “Later on I saw a horse just like the first one in a different store, but they had a Red River Cart with the horse. So I asked him if he would sell them separately. He said he would. So I said, ‘O.K., I will buy the horse. I will try to make the cart.’ So, that’s the way I started making carts and wagons, sleighs, and finally I started carving horse, cows, and bulls.”

Markel participated in numerous group exhibitions, including the Medicine Hat Exhibition and Stampede Visual Arts Show, Buffalo Days in Regina, shows at Canadian Art Galleries in Calgary, and Expo ’86. His works abide in the collections of the Royal Alberta Museum, the Alberta Foundation for the Arts, and the Canadian Museum of History.

This week’s Work of the Week is Song of the Wolf by Jeannette Northey.
 

The first full moon of 2021 was yesterday. According to the Old Farmer's Almanac, the first full moon of the year is known as the Wolf Moon because January was a time when wolves were heard howling more often.

This artwork is part of the online exhibition Unchartered. This virtual exhibition was curated by Ashley Slemming, through the support of the Alberta Foundation for the Arts Travelling Exhibition Program (TREX) in partnership with the Art Gallery of Grande Prairie and the Alberta Society of Artists.

This week’s Work of the Week is Queen Elizabeth II and Prince Philip, 1966 by celebrated photographer Yousuf Karsh in honour of His Royal Highness The Prince Philip, Duke of Edinburgh who passed away on April 9, 2021 at the age of 99.
 

The Duke was a great supporter of arts and was the royal patron of 35 arts and culture organizations around the world. Albertans are invited to sign an online book of condolence, available at www.alberta.ca/prince-philip-memorial.cfm.

This photographic portrait of Queen Elizabeth and Prince Philip is by world-renowned, Canadian photographer Yousuf Karsh. It belongs to the Provincial Art Collection, which has over 120 photographs by Karsh, known as the Karsh Collection. The Provincial Art Collection is not part of the AFA’s collection, but one of several provincial collections the Art Collections staff help manage and preserve.

About the Artist: Yousuf Karsh, 1908-2002

Yousuf Karsh was born to Armenian parents in the Ottoman Empire, present-day Turkey, in 1908. He was sent to Canada by his family in 1923 as a refugee of the Armenian genocide and went to live with his uncle in Sherbrooke, QC, who was a portrait photographer. Karsh opened his first studio in Ottawa in 1932.

During his storied career, he held 15,312 sittings, produced over 370,000 negatives, and left an indelible artistic and historic record of the men and women who shaped the 20th century, including Winston Churchill, Albert Einstein, Grace Kelly and Queen Elizabeth II.

This artwork combines horse hair and glass to create a form that suggests a pill and something flowing out from it.
 

The artist was inspired by the connection between the two materials: both fragile and fine, but also strong and functional. Echoing one another aesthetically, this partnership inspired her in new ways of looking at ancient materials.

Through its use of organic and traditional materials, this work hints at the human form, beauty, and the pharmaceutical industry .

About the artist

Carissa Baktay is a sculptor from Calgary, currently working between Canada and Iceland. Working with glass since 2008, Carissa earned a Bachelor of Fine Arts in Glass from the Alberta University of the Arts (formerly the Alberta College of Art & Design), studied at the Rhode Island School of Design and received her Master in Glass Art and Science from VICARTE Research Unit (Vidro e Cerâmica para as Artes - glass and ceramics for the arts) in Portugal.

She has participated in Snow and Ice sculpting residencies in Norway, was accepted to the 2011/2012 Living Arts Center Fellowship in Glass, and has attended multiple residencies in Iceland, Finland and Norway. Her work has been featured in exhibitions and publications in Canada and internationally.

Carissa was an AFA grant recipient in 2018-19 for the Visual Arts and New Media Individual Project Funding. Also, she was successful in having her artwork acquired through the Art Acquisitions by Application program in 2021 to be part of AFA Art Collection, which will help increase the visibility of her artwork throughout the province, including through Work of the Week.

Art Acquisitions by Application

Did you know that Albertan artists can apply to have their artwork acquired by the AFA through the Art Acquisitions by Application program?

The next deadline is April 1! Review the guidelines if you’re interested in submitting your artwork to have it be considered for acquisition.

Image description

The sculpture is a white rounded spherocylinder capsule shaped like a pill attached to a white wall. Long black hair flows approximately two-thirds down out of the capsule. In the background is the grey shadow of the hair and capsule on the wall.