AFA News

The Alberta Foundation for the Arts (AFA) was honoured to select 15 recipients from Alberta's arts community to receive Queen Elizabeth II’s Platinum Jubilee Medals. 

While Alberta has no shortage of incredible individuals who have enriched Alberta and its arts sector with their dedication and mastery, the AFA was privileged to recognize 15 outstanding individuals for their contributions.

Two presentation ceremonies were held in Edmonton on January 30 and in Calgary on February 2, where the AFA presented the medals to the recipients.

Recipients recognized during the Calgary ceremony

Back row (from left to right): David Chantler, Jean Grand-Maître, Yves Trépanier, Jason Carter, Paul Baay (AFA Acting Chair)
Front row (from left to right): Claude Lapalme, Vicki Adams Willis, Maurice Lorieau (missing: Haysam Kadri)

David Chantler – Calgary 

David Chantler is the Founder and Producing Director of one of Canada’s oldest & largest children’s theatre companies. With two companies touring, Trickster trains artists and also creates on-line & in-person curriculum-based activities in 75% of Alberta communities, 20% of which are Indigenous.

Jean Grand-Maître – Calgary 

Jean Grand-Maître is widely recognized as among the most successful Canadian choreographers and artistic directors of his generation. He joined Alberta Ballet in 2002 and elevated the profile of the organization globally including collaborations with music icons such as Sir Elton John and K.D.lang.

Yves Trépanier – Calgary 

Yves Trépanier is a leading figure and champion of visual art, volunteering on many boards including the Glenbow Museum, Contemporary Calgary, the inaugural CADA board and collaborating with AU Arts. Yves has used his internationally known commercial gallery to launch many notable local artists.

Jason Carter – Canmore 

Jason Carter is an Indigenous sculptor, painter, illustrator and public artist from the Little Red River Cree Nation.  He grew up in Edmonton and was the only Alberta artist to have his own solo show at the 2010 Vancouver Winter Olympics and has also illustrated 5 children’s books.

Claude Lapalme – Red Deer

The tireless efforts of Claude Lapalme over the past 32 years have given Red Deer a fully professional orchestra – the only city of its size in Canada to accomplish this. In addition to his Music Director duties, he has also become a world-renowned orchestrator, and created the Choir Kids program.

Vicki Adams Willis – Calgary 

Vicki Adams Willis is Founder in Residence at Decidedly Jazz Danceworks and has changed the jazz dance art form in Canada. She is a brilliant teacher and choreographer who has developed a generation of dancers and built a sustainable audience. 

Maurice Lorieau – Calgary 

Maurice Lorieau was the founding visionary for Calgary Opera 50 years ago and made it happen. As a singer and also helping others to sing, he always had one approach that has lasted for the past fifty years and that was to “make Opera available to everyone”.

Haysam Kadri – Calgary 

Haysam joined The Shakespeare Company in 2012. Under his leadership, it has enjoyed countless nominations, significantly expanded its audience base and created innovative outreach programs. He is a sought after post-secondary Theatre Arts instructor and a national award-winning actor and director.

Recipients recognized during the Edmonton ceremony

Back row (from left to right): Vivek Shraya, Terry Wickham, Shelley Switzer, Marlon Wilson, Richard Wong (AFA Board member)
Front row (from left to right): Jane Ash Poitras, Natasha Deen and Michelle Wong

Vivek Shraya – Calgary 

Vivek Shraya is a trans artist of colour whose body of work crosses boundaries of music, literature, visual art, theatre, and film. She has been previously nominated for the Polaris Music Prize, is a seven-time Lambda Literary Award finalist, and founder of V.S. Books which supports BIPOC writers.

Terry Wickham – Edmonton 

Under Terry’s leadership, the Edmonton Folk Music Festival has expanded in size and scope – showcasing Alberta artists, attracting national and international artists and many genres of folk music. Terry produces a world-class music festival every summer and embraces a vision of inclusivity.

Shelley Switzer – Edmonton 

With decades of leadership experience as a Festival and Events Producer, Shelley expanded the Edmonton International Street Performers Festival into a large scale, inclusive and accessible community festival. She currently teaches at NAIT and is a sought-after consultant for festivals.

Marlon Wilson – Edmonton 

Marlon Wilson is a hip-hop artist and central member of Edmonton and Alberta’s hip-hop scene. He is a founding member of the award-winning group Politic Live and performs as solo artist Arlo Maverick.  He has also mentored many of Edmonton and Calgary’s emerging hip-hop and R&B artists.

Dr. Jane Ash Poitras – Edmonton

Born in Fort Chipewyan, Alberta, Dr. Poitras’ work is truly original and spans a range of topics and perspectives through art. She is an exciting storyteller and works in a variety of media including painting and mixed-media collages that have been featured around the world gaining numerous acclaims.

Natasha Deen – Edmonton 

Guyanese Canadian author Natasha Deen, has published over thirty works for kids, teens, and adults in a variety of genres and readerships. A multiple award-winner, Natasha uses her life experiences and humour to connect with students in schools and youth camps on the universal moments of growing up.  

Michelle Wong – Calgary

Michelle Wong’s production credits span television to movies to documentaries, performing arts specials and features. She has served on boards with Quick Draw Animation, The Fairy Tales Society, the Calgary Society of Independent Filmmakers and the Alberta Motion Pictures Industries Association.

About the QEII Platinum Jubilee Medal

The first commemorative medals in Alberta were awarded in 2005, marking Alberta’s 100th anniversary of its entry into Confederation. The history of the medals reaches as far back as 1887 with the Golden Jubilee of Queen Victoria.

Through the Queen Elizabeth II Platinum Jubilee Recognition Act, the Government of Alberta created Queen Elizabeth II’s Platinum Jubilee Medal (Alberta). The medal is awarded to 7,000 Albertans.

To celebrate 25 years of the AFA, we’re taking a look back at how we came to be, favourite milestones, and some of the amazing artists we’ve encountered along the way. 

By Sarah Pocklington, former Arts Development Consultant and AFL Co-ordinator

It seemed impossible to Alysha that she might be a gifted artist. Perhaps it’s not something she had dared to dream of or even considered before the Alberta’s Future Leaders (AFL) Program was invited to her community in 2014. But with the help of her AFL mentors, things changed.

The Alberta’s Future Leaders Program is a dynamic partnership between the Alberta Foundation for the Arts and Alberta Sport Connection. Each year, two mentors — one with a background in the arts and the other with a background in sports and recreation — live in a First Nations or Metis community in Alberta from May through August to create and deliver youth-focused arts, sports, recreation, and leadership programming for community members between 9-25 years old.

Developed in partnership with First Nations and Metis communities, the AFL program inspires and encourages youth to realize their potential through Mentor role modelling; programs, camps and trips; multi-disciplined arts workshops lead by practicing Indigenous artists; a leadership retreat near Jasper and Leadership through the Arts in Edmonton. To date, the AFL program has partnered with over 42 First Nations and Metis communities to offer more than one million participant hours of programming since 1996.

Photos of past participants via the AFL Website

AFL Mentors, Braydon Dowler-Coltman and Kayla Hannan, were placed in Beaver First Nation for the summer of 2014.  After a warm welcome from community members, Braydon and Kayla were soon able to meet and engage with community youth. Creating art projects became one of the regular summer activities, and the AFL program even contracted renowned spray paint muralist Jesse Gouchey to offer a community workshop.

Alysha, a young girl from Beaver First Nations community, was shy and very nervous about trying to create art.

“I had a great childhood and was a good kid growing up, but as I got older I started hanging out with the wrong crowd,” says Alysha. “My ‘friends’ would only ask me to hangout when they were drinking and doing drugs. My attitude and grades in school both went downhill. I was never home and it made my family sick to their stomachs not knowing where I was. The drinking very quickly led me to a severe depression.

“Thankfully, one summer I had the privilege to meet, Braydon and Kayla, the Alberta Future Leaders Youth Mentors. They both helped me through a lot. This is where my artwork all began.”

Alysha working on a piece of art, photo via Braydon

With the encouragement, support and advice of Braydon and Kayla, she was inspired to give painting a try. Alysha had never painted before but she quickly discovered that not only did she love painting, but she was really good at it! Thrilled and genuinely surprised, Alysha continued to create several projects throughout the summer.

“I started creating my very first piece of artwork and it was like everything slowed down in life. Art is my very own personal get away from all reality. It gives me time to think, and process all that is going on in my life. This helps me make decisions to better myself. I eventually got my grades back up in school and pushed through the hard times, and successfully graduated high school on time.”

Alysha graduated from high school in June of 2015, and brought her AFL mentors Kayla and Braydon as her graduation dates.

In August, Alysha attended Leadership through the Arts where she helped curate the AFL Evening of the Arts at the Jubilee Auditorium in Edmonton. Three of Alysha’s pieces were in the show, and by the end of the night, someone had purchased all three pieces.

Another of Alysha's pieces, via Braydon

“To this day I continue on my art journey and I've only gotten better. The Alberta Future Leaders program had a huge positive impact on my life. I could not be any more grateful for the opportunity to be involved with the Alberta Future Leaders. I would like to thank Braydon and Kayla especially for always being there for me. To this day they both still check on me to see if all is well, and I will forever cherish the relationship I had built with the both of them. They are my family.”

2016 celebrates Alberta Foundation for the Arts’ 18th year of partnering with Alberta Sport Connection on the Alberta’s Future Leaders Program.

In April 2021, the AFA hosted targeted stakeholder engagement sessions to gather input and feedback that could be used to inform the AFA’s 2021-22 spending plan and potential arts sector relaunch communications following the pandemic. The AFA sought input from arts organizations, individual artists, and Indigenous artists and arts workers.

The AFA heard from 91 clients and stakeholders from across Alberta during seven virtual meetings held via Zoom. By seeking stakeholder input on the arts community’s challenges, needs, and expectations, the AFA sought to make funding decisions that both fulfil our mandate and are as responsive to the current situation as possible.

To increase transparency and to help fulfill the AFA’s commitment to evidence-based planning, we have published a summary of what the AFA heard from this engagement process.

What did the AFA hear?

The AFA heard several consistent overall themes during the engagement. Stakeholders highlighted their views and concerns related to:

• funding and support for grant writing
• relaunch and recovery from the COVID-19 pandemic
• digital capacity
• communication and advocacy they would like to see from the AFA
• artistic practice supports and professional development opportunities

While we heard a variety of ideas, reflections, as well as concerns, related to these themes, there were four topics we heard repeated across all sessions and through many of these themes:

1. Uncertainty due to the pandemic: We heard about the many challenges that artists and arts organizations have had to endure during the COVID-19 pandemic. One challenge we heard that has been felt profoundly across the sector has been the uncertainty associated with the pandemic, both during the here-and-now and for the future during relaunch and recovery. This uncertainty impacts every aspect of the advice and input we received during engagement.
2. Stability of funding: While many stakeholders shared ideas for new programs that could be of value to the sector, a consistent message we heard across all sessions was the importance of maintaining current programs. Operational clients also stressed the importance of predictability and sustainability of funding levels from year-to-year. 
3. Flexibility for use of grant funding: Comments along this theme varied based on program, but we did hear a consistent desire among clients and grant recipients for fewer restrictions on eligible uses for funding. During discussions on this theme, we also heard some ideas for eligible uses of funding that the AFA already permits in many of its grant programs, such as support for professional development, research and development, costs related to cultural expenses (such as protocols and gift giving), and for child care costs. 
4. Advocacy: In all sessions, we heard many ideas about how the AFA could advocate on behalf of the arts community. We heard the importance not only of better outcomes that could be realized by the arts sector based on increased advocacy efforts, but the value artists and arts organizations see of the AFA advocating on their behalf. 

We encourage all artists, arts workers, other stakeholders and organizations that are connected to the AFA to read the full report. 

What happened next?

The AFA values the input provided during engagement sessions and has addressed some of the priorities raised in our 2021-22 spending plan. Our priorities were to maintain predictable and stable support for Alberta’s arts organizations, and to continue to provide project opportunities for individual artists.

We also considered ways to increase communication on supports available and other topics raised during the engagement sessions. We published frequently asked questions by new AFA applicants, based on feedback we heard during this engagement.

The AFA remains committed to ongoing engagement with our clients and stakeholders to ensure we are as responsive as possible to the community’s needs.

Questions? 

The AFA values input from all clients and stakeholders, and you may share your perspective or ask any additional questions by emailing afacontact@gov.ab.ca.

On September 29, 2022, we marked the 50th Anniversary of the AFA Art Collection. As part of the celebrations, we are sharing snippets from the history of the collection.

Learn more about the celebrations! 

By Erin McDonald, former Manager, Art Collections

2015 was dubbed Canada’s Year of Craft.  It was a year which saw a significant increase in craft creation and related activities. Alberta was abounding with artists and galleries that specialized in the creation, sales and collection of fine craft media. 

With a number of unique artworks available, the Alberta Foundation of the Arts (AFA) had made the acquisition of fine craft media a priority for the AFA Art Collection. 

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The AFA was contacted in the summer of 2015 about something that might be of interest to them—a significant collection of ceramic works by Albertan artists. 

Joan and Tom Chapman, located in Red Deer, were in possession of large cache of ceramics that they had collected over the years and were seeking a suitable storehouse for the works. 

About the Chapmans

The Chapmans owned and operated Chapman Galleries (1974 – 1984) and Four Corners Gallery and Framing (1988 – 1998) in Red Deer, Alberta.

From the Resource Centre files, an original invitation to a Chapman Galleries exhibition

For two decades, Joan and Tom were at the heart of the resurgence of studio and design potteries which combined distinctly modernist approaches to art, with traditional forms and techniques. 

A fine craft resurgence in Alberta

This resurgence ushered in an era of brilliant artists that inspired and explored Alberta’s burgeoning studio pottery world. These included:

• Noboru Kubo
• John Chalke 
• Jane van Alderwegen
• Harlan House
• Charles Wissinger
• and many other talented artists

John Chalke, BASECAMP, n.d., ceramic, AFA Art Collection

Fit to print

During this time, the AFA Art Collection had also released a series of publications that accompanied travelling exhibitions to highlight the evolution of the mid-century ceramics movement in Alberta. 

These exhibitions travelled throughout province, with stops in places like Red Deer, Lethbridge, Edmonton, Calgary and Grande Prairie. 

Studio Ceramics in Alberta 1947-1952 (1981)

Early Albertan works and artists were identified as part of the nascent clay tradition that began post-World War II in, Studio Ceramics in Alberta 1947-1952 (1981).

The publication featured an interview with Luke Lindoe, and early works by Greg Arnold, Walter Drohan, and Lindoe himself. 

Studio Ceramics in Alberta II, 1953-1963 (1982)

The second publication, Studio Ceramics in Alberta II, 1953-1963 (1982), explored the emergence of the ceramics department at the Southern Alberta Institute of Technology & Art, and the emergence of the Edmonton Potters’ Guild in 1953. 

The publication showcased artists like Sibyl Laubental, Vivian Lindoe, and Katie Ohe, and highlighted the strength of female artists in the medium.

Alberta Clay Comes of Age: Studio Ceramics in Alberta III

In 1984, the last in the series, Alberta Clay Comes of Age: Studio Ceramics in Alberta III, 1964-1984 was released.

The exhibition and catalogue featured emerging artists like Ed Drahanchuk, Annemarie Schmid Esler, and Tony Bloom who would ultimately become synonymous with the ceramics movement in Alberta. 

Annemarie Schmid Esler, PLATE, ABSTRACT BLACK AND WHITE, n.d. ceramic, AFA Art Collection

Seeking a home for art

When Joan Chapman retired, she and Tom retained a number of their favourite artworks in their own personal collection. In 2015, the Chapmans were ready to downsize their personal collection and wanted a proper home for the art.

In particular, they sought a public collection that would ensure that the ceramic arts of Alberta would be shared broadly. At the same time, the AFA was seeking fine craft media to acquire and possessed the ability to store and care for the works. Perfect partners. 

Hidden gems

The significance of the Chapman’s personal collection was discovered during a studio visit to the Chapman home in August 2015. 

Significant pieces by Albertans were found in the holdings. Many created during periods previously unrepresented in the AFA Art Collection: an abundance of mid- to late-century modern Alberta ceramics. Hidden gems.

Flute

Tony Bloom’s Flute was an incredibly exciting find that was offered by the Chapmans after the studio visit. 

Tony Bloom, FLUTE, ca. 1970-2, ceramic, AFA Art Collection

Found in a drawer, Flute was one of Bloom’s earliest explorations of ceramics. Having later examples of Tony’s work in the collection, Flute was an incredible addition to the holdings for the purpose of curatorial research and documenting an artist’s career.

Narrow Neck Vase

Works such as Toru Hasegawa’s Narrow Neck Vase were discovered. Works such as this can be used as a reference point to note stylistic changes in an artist's practice over time. 

Hasegawa’s previous works are from the same period, but are in the medium of stoneware and represent his exploration of more sculptural forms. Meanwhile, this functional vase shows his delicate application of colour, mimicking brush strokes of traditional Japanese-style painting. 

Toru Hasegawa, NARROW NECK VASE, 1968, ceramic, AFA Art Collection

This work highlights Hasegawa’s formal training from Kyoto Sakuge University before he moved to Hinton, Alberta in 1967 to study in the studio of Frank Kiyooka.

A donation for all Albertans

In December 2015, the AFA Board approved a motion to accept the generous donation from the Chapmans. There were 33 artworks added to the AFA Art Collection's holdings, including 23 ceramics.

These works tell the story of the incredible evolution of studio ceramics in Alberta, the significance of one small central gallery, and its connection with the AFA Art Collection four decades later.

Generous donors, like Joan and Tom Chapman, help the AFA to acquire historic and contemporary artwork that increases the value of the art collection as a legacy for the people of Alberta. 

On September 29, 2022, we marked the 50th Anniversary of the AFA Art Collection. As part of the celebrations, we are sharing snippets from the history of the collection. 
Learn more about the celebrations! 

By Gail Lint, Arts Collections Consultant

In 2008 and 2009, the AFA supported a special curatorial initiative focused on building the holdings of the AFA Art Collection with contemporary Indigenous art. The initiative addressed the work of senior artists not properly represented in the collection, as well as a new generation of artists who are now making an impact.

For this initiative, artworks were acquired through a variety of sources. Curatorial assessment and recommendations by Indigenous artist Dr. Joane Cardinal-Schubert were an invaluable part of the process. Through Joane’s insight, wisdom and guidance, the artworks acquired have significantly enhanced the AFA's holdings.

Creating new relationships with Indigenous artists

Joane provided an avenue to acquire artworks by Indigenous artists unknown to the AFA Art Collection prior to 2008.

2008.085.001 Aaron Paquette, Aniti Anemos 2007, acrylic & gold leaf on canvas, AFA Art Collection

Through her mentoring and respected reputation in the art community she approached both established and emerging artists, conducting interviews and studio visits. She presented recommendations for curatorial acquisition into the AFA Art Collection.

Through the efforts of Joane, balanced by additional curatorial recommendations from the Collection’s Acquisition Working Group, the Indigenous curatorial initiative increased the AFA holdings by an incredible 73 artworks over a two-year period. 

2009.021.002 David Garneau, At the Fiddle Camp 2009, acrylic on canvas, AFA Art Collection

Narrative Quest exhibition

In celebration of Alberta Culture Days in September 2009, the AFA created an exhibtion of artworks by Indigenous artists entitled Narrative Quest. It was displayed in the gallery at the Capital Arts Building in Edmonton.

Curated by AFA Art Collections Consultant Gail Lint, Narrative Quest featured a selection of 60 artworks by 22 Indigenous artists from the AFA Art Collection, and included several of the artworks acquired through the Indigenous curatorial initiative.

2008.086.004 George Littlechild, Cross Cultural Examination #2 2007, ink jet print on paper,  AFA Art Collection

The exhibition combined a variety of traditional and contemporary styles in diverse media. The prevalent themes in these artworks are often based on storytelling.

These are stories that have been shared by the elders, stories of a search for understanding and meaning, stories of identity and belonging, and stories retold to preserve a threatened culture. They are stories immersed in the past, reflective of the present and hopeful for the future

The passing of Dr. Joane Cardinal-Schubert

On September 16, 2009 while installing the Narrative Quest exhibition in the Arts Branch gallery for the Alberta Culture Days celebration, word reached the staff that Joane Cardinal-Schubert had passed away.

2008.106.004 Joane Cardinal-Schubert, Flutterby (Birchbark Letter) 1998, mixed media on canvas, AFA Art Collection

Until that day, there had been no indication from Joane that she was ailing. She was determined to complete her curatorial contract and source artworks for the AFA Art Collection and, through her valiant commitment, she introduced new artists and assisted in building the representation of senior Indigenous artists.

The next day, during the official opening of the Narrative Quest exhibition, which was accompanied by a traditional smudge led by an Indigenous elder, there was a large raven sitting on top of the Capital Arts building above the location of the gallery. It was believed that Joane attended the ceremony in spirit.

The Narrative Quest exhibition was dedicated to the memory of Joane Cardinal-Schubert (1942 – 2009).

 “Let the next 
Generation 
be born 
with the knowledge 
of what has passed.”

(excerpt from the poem Keeper by Joane Cardinal-Schubert)

Narrative Quest on tour

Narrative Quest Exhibition (installation view) Capital Arts Gallery, Edmonton (Sept. 2009)

After the Culture Days exhibition at Capital Arts Building in 2009, Narrative Quest toured to:

• the Royal Alberta Museum in Edmonton
• the Red Deer Museum and Art Gallery (edited selection)
• the Museum of Contemporary Art in Calgary (edited selection)
• the Art Gallery of Grande Prairie

An edited selection of 32 artworks from the Narrative Quest exhibition then travelled to the Embassy of Canada, Prince Takamado Gallery in Tokyo, Japan (November 25, 2014 to February 27, 2015). It was met with critical acclaim.

Joane's ongoing legacy

In 2016, the National Gallery of Canada hosted a major retrospective exhibition featuring Alberta’s celebrated Indigenous artist from Cold Lake: Alex Janvier: Modern Indigenous Master (November 25, 2016 to April 17, 2017). 

Nine AFA artworks by Alex Janvier were included in the exhibition. Almost half of these artworks were acquired through recommendations by Dr. Joane Cardinal-Schubert.

2009.001.004 Alex Janvier, Untitled 2009, acrylic on canvas, AFA Art Collection

In 2017 the Nickle Galleries at the University of Calgary hosted a major retrospective of Dr. Joane Cardinal-Schubert: The Writing on the Wall. It was the first retrospective since her passing in 2009.

19 artworks from the AFA's holdings and an additional two artworks from the Government House collection were loaned for inclusion in the exhibition. An edited selection of these artworks toured to four other galleries across Canada until 2020.

1989.025.001 Joane Cardinal-Schubert, Moonlight Sonota: In the Beginning 1989, oil on canvas, AFA Art Collection

In part two of our look back at the tremendous impact Joane has had on the AFA Art Collection, we will take a look at the AFA's Fellowship for Indigenous Curators and the next generation of acquisitions by Indigenous artists. 

Building a Collection – Celebrating 50 Years of the AFA Art Collection

The Alberta Foundation for the Arts (AFA) continues to celebrate 50 years of supporting Alberta arts and culture. 

Inspiring, insightful and nostalgic, Building a Collection shares the story of the AFA Art Collection, a time capsule of Albertan creativity. See how the Alberta Art Foundation, created to purchase Albertan art with a budget of $50, 000, transformed into a foundation that supports Alberta’s ever-growing art community with one of the strongest, most active provincial art collections in Canada.

Watch:

Collecting the first of many artworks in 1972, the AFA Art Collection is a unique representation of the history, development and achievements of our provincial visual arts community. Today, the AFA is proud to manage one of the strongest, most active provincial art collections in Canada. Holding over 9000 artworks made by over 1,700 creative Albertans.

^{Image credit: Dr. Joane Cardinal-Schubert. Photo by JustinJHCSchubert (own work) [CC BY-SA 4.0 (Open license)], via Wikimedia Commons.
Image cropped and combined with photo of Becca Taylor for this web page, and the AFA's 50th Anniversary branding has been added.
Photo of Becca Taylor is by Katy Whitt Photography}

On September 29, 2022, we marked the 50th Anniversary of the AFA Art Collection. As part of the celebrations, we are sharing snippets from the history of the collection.

Learn more about the celebrations!

In part two of our look back at the impact Dr. Joane Cardinal-Schubert has had on the AFA Art Collection, we look at the Fellowship for Indigenous Curators and the next generation of acquisitions by Indigenous artists. Read part one. 

AFA creates the Dr. Joane Cardinal-Schubert Fellowship for Indigenous Curators

In 2018, the AFA announced a one-time fellowship designed to support the growth and development of curatorial talent and enhance representation of Indigenous artists in the AFA Art Collection. 

The project’s intention was to bring a new perspective to art acquisition at the AFA and build on previous work undertaken by the late Dr. Joane Cardinal-Schubert, who provided curatorial consultation to the AFA in 2008 and 2009. The fellowship was named in her honour. 

After a competitive application process, the AFA was pleased to announce that Becca Taylor was awarded Dr. Joane Cardinal-Schubert Fellowship for Indigenous Curators.

About Becca

Becca Taylor is a curator and multi-disciplinary artist with Cree, Scottish and Irish descent. According to her application, her curatorial practice involves investigations of Indigenous community building, Indigenous feminisms, methodologies of gathering and ephemera of living actions.

She was awarded the Aboriginal curator-in-residence, from the Canada Council in 2015, a 12-month residency at Urban Shaman gallery in Winnipeg where she curated Traces (2016.) In 2016-17 she was the Indigenous Curatorial Research Practicum at the Banff Centre, curating A light left on (2016.)

Notably, Becca co-curated the 4th iteration of La Biennale d’art contemporain autochtone (BACA) with Niki Little, entitled níchiwamiskwém | nimidet | my sister | ma sœur (2018), co-led land-based residency, Common Opulence (2018), in Northern Alberta and curated Mothering Spaces (2019) at the Mitchell Art Gallery.

Becca is the Executive Director of Ociciwan Contemporary Art Collective in Edmonton.

The project

Becca’s final report, Kahkekwask / From Here to There was completed in June 2019. It provided the AFA with a variety of recommendations to broaden the AFA Art Collection to represent more Indigenous artists and artworks through all acquisition programs, as well as to offer greater support for Indigenous artists, including through building relationships and trust with Indigenous communities. 

Since the report was completed, the AFA has acquired nearly fifty artworks by Indigenous artists through curatorial purchase, donation, and the Art Acquisition by Application program. Some highlighted artists and artworks include...

MJ Belcourt

2022.032.001 MJ Belcourt, First Fruits, n.d., smoked moose hide, glass seed beads, thread, fabric

MJ Belcourt is a certified Native Art Instructor, curator, and Indigenous artist residing in Treaty 6 territory. Her mixed Métis ancestry is Mohawk, Cree, and French with family ties to the Michel Band and the community of Lac St. Anne. Through a desire to build a closer connection and understanding of her Métis bloodline, Belcourt has remained naturally drawn to the traditional Indigenous arts of her ancestors.

She works in a variety of Indigenous art forms including beadwork, porcupine quill, fish scale, moose and caribou hair, and the art of creating natural dyes.

2022.032.002 MJ Belcourt, Pass System, n.d., smoked moose hide, glass seed beads, tin cones, thread

In 2022-23, the AFA acquired two artworks from MJ Belcourt: First Fruits and Pass System. Both are native tanned smoked moose hide pouches embellished with beading and other traditional decorative elements.

Lauren Crazybull

2019.035.002 Lauren Crazybull, Self Portrait, 2018, acrylic on board

Lauren Crazybull is a Niitsítapi (Member of Kainai First Nation), Dené artist. Lauren won the 2020 Eldon & Anne Foote prize, 2020 Lieutenant Governors Emerging Artist Award and was shortlisted for the Kingston Portrait Prize in 2019. In 2019, they were selected as the first Alberta Artist in Residence/Arts Ambassador. Lauren currently resides in Vancouver, having recently completed her MFA at Emily Carr University of Art + Design. 

In her work, Lauren considers Indigenous presence and multiplicity through paintings, creating worlds where honest portrayals trespass onto romantic representations of Indigeneity. Working primarily in portraiture, a long-standing genre that is often embedded with an imbalance of power between the artist/viewer and sitter, Lauren seeks to examine the relationship between herself as an artist and the individuals she paints. 

The AFA has acquired two artworks by Lauren Crazybull as of 2023.

Kablusiak

2021.017.001 Kablusiak, Piliutiyara (Saltwater Taffy), 2020, photograph with backlit film in lightbox

Kablusiak is a multidisciplinary Inuvialuk artist and curator who uses Inuk ingenuity to create work in a variety of mediums including, but not limited to, lingerie, white flour, soapstone, permanent marker, bed sheets, felt, acrylic paint, and words. Kablusiak holds a BFA in Drawing from the Alberta University of the Arts in Mohkinstsis, where they are currently based.

Their work explores the dis/connections between existence in the Inuitdiaspora while maintaining family and community ties, the impacts of colonization on Inuit gender and sexuality expressions, as well as on health and wellbeing, and the everyday.

2021.017.001 Kablusiak, Piliutiyara (Saltwater Taffy), 2020, photograph with backlit film in lightbox (alternate view)

In 2021, Kablusiak was part of a team of four Inuit curators who curated the inaugural exhibition for Qaumajuq, entitled INUA. In all of their creative work Kablusiak seeks to demystify Inuit art and create the space for Inuit-led representation of the diverse aspects of Inuit cultures.  

The AFA Art Collection holds 26 artworks by Kablusiak in 2023.

Dwayne Martineau

2021.013.001 Dwayne Martineau, Strange Jury #2, 2021, photograph on backlit film

Dwayne Martineau is an Edmonton based visual artist and musician. He is a treaty member of Frog Lake First Nation, descended from Plains Cree, Métis, and early French and Scottish settlers.

He enjoys seeing the world like a child full of discovery. Also, he approaches the world with a critical mind, seeking both truth and wonder. His visual arts practice began with experimental landscape photography, and has evolved to include videography and immersive large-scale art installations.

The AFA acquired Strange Jury #2 as part of the 2021 cycle of the Art Acquisition by Application program. This artwork is one of five artworks included in the Strange Jury Series. When installed in a gallery, five giant prints are hung in a circle off the ground to depict five characters of the forest with animistic faces.

Jessie Ray Short

2019.039.001 Jessie Ray Short, WAKE UP!, 2019, experimental film, 5:57 mins

Jessie Ray Short is an artist, filmmaker and independent curator of Métis, Ukranian and German descent whose cross-disciplinary practice involves memory, visual culture and Métis history.

She has shown her work nationally and internationally, including at the Banff Centre for the Arts, Agnes Etherington Art Centre in Kingston, at La Chambre Blanche in Québec City, Art Mûr Berlin (a satellite exhibition of the Contemporary Native Art Biennial/BACA) in Germany, and at the Wairoa Maori Film Festival in New Zealand.

As a curator, she has had the opportunity to work on various projects most notably Jade Carpenter: Mourn at City of Calgary Open Spaces Gallery and Mixed Berries: Amanda Strong and Bracken Hanuse Corlett at Gallery 2, Grand Forks, BC. She has worked for the Ociciwan Contemporary Art Collective, based in Edmonton, and for TRUCK Contemporary Art in Calgary.

WAKE UP! is an example of media artwork included in the AFA Art Collection. In the film, a Métis woman explores identity by transforming herself into one of the only widely known Métis icons, a man named Louis Riel, who lived over 100 years ago.

Read Becca Taylor's 2018 curatorial statement for the fellowship:

Alberta has an expansive and diverse Indigenous community living in and outside of it.  The changing landscapes within Alberta have different pieces of knowledge and teachings reflecting across the terrains; with different Indigenous groups living either in rural or urban settings, or both, whose lived experiences are reflected within their work. Some artists have formal institutional education, some with education from the land and our ancestors; but we all have an inherent perspective and embodied knowledge of what it means to be an Indigenous person living in Alberta.

For the next 6-months, my curatorial research will be based on my teachings of the medicine wheel. Looking at artists from the different quadrants of Alberta, as well as, a range of professional experience within each quadrant, from emerging to established artists; learning from and listening to the different perspectives and insights from different regions, nations, ages and experiences.

I view this research project to be as informed and diverse as possible to reflect the extraordinary past, present and future of Indigenous contemporary art in Alberta. Through conversation and travel, I anticipate meeting many more artists whom I do not know at this moment. Using my resources and community in Alberta to expand my knowledge of artists working here and those who have lived here and made an impact while doing so.

Continuing legacy

Through the foundational work provided by Dr. Joane Cardinal-Schubert, built upon by Becca Taylor, and through continuing engagement with Indigenous artists, Elders and communities of practice, the AFA is pleased to continue to increase representation of Indigenous art in the AFA Art Collection.

See our current holdings of Indigenous artworks through the AFA Virtual Museum. 

On September 29, 2022, we marked the 50th Anniversary of the AFA Art Collection. As part of the celebrations, we are sharing snippets from the history of the collection. Learn more about the celebrations! 

By Gail Lint and Kristin Stoesz, Art Collections Consultants

From High Level in the North, to the Milk River in the South, and virtually everywhere in between, the AFA's Travelling Exhibition Program (TREX) works to bring Albertan art to all corners of the province, one crate at a time.

False start?

In the early days of the program (1972), the Department of Youth, Culture, and Recreation offered travelling exhibitions to Albertan communities with the intent of developing the visual arts in Alberta. The program ended around the same time the Edmonton Art Gallery (now the Art Gallery of Alberta) began offering regional exhibitions.

The gallery initially circulated exhibitions to northern Alberta but later they expanded the program through the Southern Alberta Art Gallery (SAAG) to other parts of the province.  Facing budget cuts in the mid 1980s, the Edmonton Art Gallery terminated the travelling exhibition program in favour of its in-house programs.

Opportunity knocks

Image from 1985-1986 Alberta Art Foundation (AAF) Annual Report

Seeing an opportunity to resurrect the travelling exhibition program in 1980, the Alberta Art Foundation (AAF) developed a “Caravan Exhibition Program” to celebrate the 75th anniversary of the province.

• the AAF was one of three government foundations that were amalgamated to form the AFA in 1991

There were four exhibitions developed, one featuring works from the AAF's collection and three using works from other public and private collections. Exhibitions were showcased in refurbished truck trailer “galleries” and were circulated by the Glenbow Museum in Calgary. 

When the year of celebration finished, the AAF opted to continue circulating the exhibitions while developing new exhibitions using its art collection. 

Image from 1979-1980 AAF Annual Report

Rocky road

In 1987, due to budget and staff reductions, the AAF decided to contract the program out to galleries, allowing an expansion of the types of exhibitions offered to communities. 

The TREX Program format as it operates today started with the Edmonton Art Gallery creating exhibitions and coordinating the program, and the Prairie Art Gallery, the Muttart Gallery (later to become the Art Gallery of Calgary), and the Southern Alberta Art Gallery contracted to create exhibitions.

Unfortunately, the first attempts to coordinate were rocky. Extended periods between staff appointments, delays in exhibition development, and problems with the regional exchange of exhibitions left the program in limbo.

Image from 1987-1988 AAF Annual Report

Renewal

With the TREX contract up for renewal in 1995, the newly formed Alberta Foundation for the Arts revamped the program and took on the role of provincial coordinator.

In 1997 a call for tenders was sent to all public and institutional galleries as well as all provincial visual arts organizations. The proposals were reviewed by the AFA’s Art Collections Committee with the assistance of an independent consultant. 

The Board approved four, three-year contracts to the Prairie Art Gallery in Zone 1, Harcourt House Art Centre in Zone 2, The Art Gallery of Calgary in Zone 3 and the Medicine Hat Museum and Art Gallery in Zone 4. 

Beginning in 1998, Metro Media (Metro Cinema) was contracted to offer a provincial touring program of Alberta media arts. This later developed into the Prairie Tales film series until the media arts program was transferred out of TREX in 2014.

Image from 1979-1980 AAF Annual Report

Modern TREX

In 2000, a call for tenders was again released to the public and the contract for TREX  Zone 1 was awarded to the Prairie Art Gallery (now the Art Gallery of Grande Prairie), Zone 2 was awarded to the Edmonton Art Gallery (now the Art Gallery of Alberta), Zone 3 to the Art Gallery of Calgary (now Contemporary Calgary), and Zone 4 to the Medicine Hat Museum and Art Gallery (now the Esplanade Arts and Heritage Centre). 

In January of 2002, the Art Gallery of Calgary requested that they be released from the balance of their contract, as its board felt that the program no longer fit into their gallery’s mandate. Based on the jury recommendations from the last call for tenders, the AFA offered the Alberta Society of Artists the opportunity to take over the balance of the contract for Zone 3.

These four regional organizations continue to coordinate the program to this day:

• The Art Gallery of Grande Prairie - Northwest Alberta
• Art Gallery of Alberta - Northeast and North Central Alberta
• Alberta Society of Artists - Southwest Alberta
• Esplanade Arts & Heritage Centre - Southeast Alberta

2016 TREX Art Exhibit Opening: Dreaming With My 'Great Mother'... from Region 2, Art Gallery of Alberta

50th Anniversary exhibitions

The AFA is pleased to have worked with its Travelling Exhibitions (TREX) partners to support the curation of special 50th Anniversary themed exhibitions, which will tour across Alberta until 2025.

• TREX Southwest (Alberta Society of Artists) – “Montageries”
• TREX Southeast (Esplanade Arts & Heritage Centre) – “Party On!”

Find out whether an AFA Travelling Exhibition is in your community by connecting with our regional TREX providers. 

Looking forward

Having toured the province for decades in its many incarnations, TREX has become an integral part of the culture of the province. The AFA  continues to facilitate growth and change in TREX to respond to the needs of our communities.

We have art and will travel, who knows where we will go next!

See how the AFA cares for an exquisite new acquisition by Métis Cree visual artist, Sharon Rose Kootenay, and the different steps we take to document, catalogue and preserve her work for the benefit of all Albertans.

The artworks in the AFA Art Collection mean so much to the artists, to the staff that work with them, and to the many, many Albertans who have an opportunity to view them through exhibitions, art placement programs, or even online in our Virtual Museum.

Watch:

50th Anniversary of the AFA Art Collection

Established in 1972, the AFA Art Collection is a unique representation of the history, development and achievements of Alberta's visual arts community. Today, the AFA is proud to manage one of the strongest, most active provincial art collections in Canada.

On September 29, 2022, the AFA began celebration for the 50th Anniversary of the establishment of the AFA Art Collection. Learn more about how we are celebrating throughout 2022 and 2023.

We are proud to diligently care and work with each of our more than 9,000 artworks in Alberta's public art collection. This is the second episode of a five-part series about the AFA Art Collection.

• Watch episode 1 of the series, Building a Collection, on YouTube

Videos produced by Hidden Story Productions.

We at the Alberta Foundation for the Arts (AFA) are very saddened to learn of the passing of John “Jock” Osler.

Jock Osler always said, “Stick with your message,” and his message was clear: engage with your community, make a difference and have some fun along the way. Jock was a champion of the Arts. I would often see him at ATP (Alberta Theatre Projects) and hear him calling the curtain at Vertigo Theatre. Of course, thousands heard his voice as the announcer of the Calgary Stampede’s Grandstand show. Fittingly, in 2018, a studio at the TransAlta Performing Arts Studio on Stampede grounds was named in his honour.

Jock was Chair of the AFA from 1994 to 2001, a fact he quietly mentioned when he called to wish me well in the role. I easily remember his public advocacy for increased public funding of the Arts during those years and the changes he facilitated: under his leadership, the AFA introduced a new funding formula for public art galleries and a new grant program structure in order to increase stability of the sector.

So much more could be said about Jock’s many contributions in the political arena and beyond, but he liked succinct writing. We will all miss you Jock. On behalf of the AFA, I extend my deepest sympathies to your family and friends.

Mary Rozsa de Coquet
Chair
Alberta Foundation for the Arts (2020 - 2023)