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BEGIN:VEVENT
DTSTART;VALUE=DATE:19900901
DTEND;VALUE=DATE:20250720
DTSTAMP:20250730T161556Z
CREATED:20250724T171135Z
LAST-MODIFIED:20250730T161556Z
UID:10000205-652147200-1752969599@albertaprintmakers.com
SUMMARY:1990 ArtWalk
DESCRIPTION:About the Exhibition\nThis year’s annual ArtWalk festival will be held in September. Work from A/P will be on display in both The Petro-Canada Gallery and Image 54\, with Image 54 showcasing works and prints of a smaller scale. Thank you to Pauline Lindland and Mark Dicey for jurying this exhibition. \nArtists included in the exhibition: \nLeslie Minions\, Joan Weiser\, Helen Mackie\, Carole Bondaroff\, Gwen Frank\, Malcolm Brekkie\, Robbin Yager\, Todd Johnson\, June Thomsen\, Lenore Dyke\, Setsuko Moulton\, Colleen Shepstone\, Vera Greenwood\, Kevin Jones\, Janet Lowry\, Nick Meijer-Drees\, KarenMacRae\, Marda Wright\, Vivian Herman\, Bill Laing\, Catherine Baillies. 
URL:https://albertaprintmakers.com/event/1990-artwalk/
LOCATION:Image 54
CATEGORIES:Other Exhibition Past,Past
ATTACH;FMTTYPE=image/png:https://albertaprintmakers.com/wp-content/uploads/2024/01/cropped-Logo-AP-NoBG.png
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20110401
DTEND;VALUE=DATE:20250724
DTSTAMP:20250730T164653Z
CREATED:20250724T175248Z
LAST-MODIFIED:20250730T164653Z
UID:10000239-1301616000-1753315199@albertaprintmakers.com
SUMMARY:Local Imprint
DESCRIPTION:About the Exhibition\nA/P is organizing\, Local Imprint\, a juried exhibition for A/P members to showcase their work. \n\nThis exhibition is intended to: \n\nCelebrate A/P members while welcoming new and returning members\nFoster community through an inclusive group exhibition\nConnect with local and global printmakers and showcase the breadth and depth of their print-based work\nPromote sales that will support individual artists and raise funds for sustaining A/P’s community programs\n\n  \nArtists included in the exhibition: \nAlden Alfon\, Elizabeth Allen\, Carole Bondaroff\, Rosemary Brown\, Katherine Cregan\, Irén Gibson\, Kenzie Housego\, Ursula Knight\, Eveline Kolijn\, Kathryn Mathias\, Larissa McLean\, Michael Leeb\, Shinobu Mitsuashi\, Sara Norquay\, Anne Petrie\, Stan Phelps\, Carrie Phillips-Kieser\, Evan Smibert\, Heather Stump\, Margot Van Lindenberg\, Caitlin Wells\, Andie Wicherts\, Andrea Williamson\, Tracy Wormsbecker\,
URL:https://albertaprintmakers.com/event/local-imprint/
LOCATION:Alberta
CATEGORIES:Other Exhibition Past,Past
ATTACH;FMTTYPE=image/png:https://albertaprintmakers.com/wp-content/uploads/2024/01/cropped-Logo-AP-NoBG.png
ORGANIZER;CN="Alberta Printmakers":MAILTO:director@albertaprintmakers.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20130227
DTEND;VALUE=DATE:20130407
DTSTAMP:20250801T180204Z
CREATED:20250801T180204Z
LAST-MODIFIED:20250801T180204Z
UID:10000269-1361923200-1365292799@albertaprintmakers.com
SUMMARY:Paul Mitchell
DESCRIPTION:About the Exhibition\nSo Close Yet So Far: Paul Mitchell’s Transmedia Yearning – exhibition essay by Mario Trono  \nWhen philosopher Slavoj Zizek looks for meaning in a horror film\, he suggests we should ignore whatever specifically causes the horror. Only then can we see the real content—the real horror—of the film’s story.This critical maneuver yields interesting results: Psycho becomes a film about women’s lives in a woman-hating society\, Alien a piece about exploited workers under capitalism\, and The Cabin in the Woods a treatise on humanism dying under consumerism. \nIt’s an interesting test for art of any type. \nSo. What happens if one disregards the ostensible or most obviously apparent contents of Paul Mitchell’s prints—the fragments of faces and bodies\, the letters limned by a line of ink\, the cartoon fang\, the facade of a house\, the tangle of trees and fencing? \nAnswer: Evidence of the intaglio printmaking process itself having taken place\, the scoring of surfaces and the subsequent insertion of ink into the resultant cavities\, a materially intimate act. And it is that act—the forceful and intentional manipulation of media to get one thing into another—that reflects the broader theme of this exhibition\, which is the restless\, transmedia urge to explode out of form\, content\, representation\, and materiality to forcibly (desperately? humanly?) connect with the Viewer-Other to ask\, “ls this Darkness in you too?” \nThe other formal elements of this exhibition\, beyond the prints\, inscribe and express a hunger to enter into a state of co­-consciousness with Beholders of the work\, as if a benevolent demon yearned to redeem possession and elevate it to sublimity\, but\, unable to bridge space and time\, had to turn to art and was trying everything! The exhibition’s various forms of expression attempt collectively to vault the Void ‘twixt self and other.The abstraction of the prints and their associative transmogrification of the mundane muck of urban dwelling attempts to draw you into the mystery of an Other’s psyche. Text whispers here\, and there\, evoking typographic language and the auditory register in ghostly fashion\, and since Word always implies Reader\, it is another call to you\,Viewer-Other\, from the hungry demon beyond the representation\, beyond the paper that stretches from ceiling to floor\, ensuring you maybe see Him\, maybe glimpse a shadow beyond surfaces\, as light from windows and spots plays its games\, the light of world paradoxically suggesting the dark of disconnection. \nThis transmedia\, itinerant\, and restless yearning for You finds further expression in the conceptual enactment provided by Amanda Schoofs\, an enactment that underscores the show’s theme of graphical-textual dissemination as a form of yearning for connection. Her costume is “composed” of the exhibition’s versions of this theme\, and since it materially spills onto the floor that the gallery-walking Other treads\, it reveals itself as another bid to traverse the gap between representation and represented\, and thus\, between viewed and viewer.That the costume remains as a relic of that effort is another echo that a Self was here\, moving in\, through\, and around the art\, a Self calling to you through materiality made significant. Be not fooled by Schoofs’ mock\, staged reading from The Plinth-Propped Book That Purports to Mean. (How could such meaning be stable when the “reading” is improvised?) Her performance is finally indeterminate in meaning because latent content is not the point.The overall exhibition is not about the yearning for connection\, for the inauguration of the co­-consciousness that art desperately hopes can come into being. It is a debris field of signification that provides evidence of an attempt to make it happen. \nCan it ever happen? Were it to\, art would disappear\, for there would be no need anymore to express oneself to other—Other would finally be Self. Today\, here\, now? We are at least able to embrace the consolation of Mitchell’s art\, art that at least lets you know that the Other is thinking of you.
URL:https://albertaprintmakers.com/event/paul-mitchell/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/02_Paul_Mitchell.jpeg
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