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DTSTART;TZID=America/Edmonton:20240407T100000
DTEND;TZID=America/Edmonton:20240407T150000
DTSTAMP:20240328T155137Z
CREATED:20240312T204147Z
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SUMMARY:Studio Workshop: Intro to Silkscreen #3
DESCRIPTION:February sold out so fast so we got another one for yeah! Screen printing (or silkscreen) is a printmaking technique where layers of ink are pulled through a mesh screen to create a wonderfully detailed image\, often with multiple layers of transparent ink interacting with one another. In this comprehensive workshop\, students will gain an understanding of the processes involved in creating a screen print on paper within a professional printmaking studio and will leave with the knowledge and experience required to produce work independently. \nThe instructor will cover: ​​​ \n\nBoth analogue and digital methods of creating stencilsCoating a screen with emulsion\nBurning the screen on the exposure unit\nMixing ink\nRegistering multiple layers\nPulling prints\nCleaning/ reclaiming screens\n\nNote: This class is for adults (18+ years) and is limited to 4 participants. \nInstructor Bio: \nOriginally from Montreal Quebec\, Statz completed his Bachelor of Fine Arts degree at the Alberta College of Art + Design in 2000\, and received his Masters of Fine Arts degree in Print Media at Concordia University in 2008. Currently based in Calgary Alberta\, Statz’s work has been exhibited across Canada\, The United States\, and Europe.\nInstagram: @statzart
URL:https://albertaprintmakers.com/event/studio-workshop-intro-to-silkscreen-5-3/
CATEGORIES:Multi-Day,Workshop Past
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DTSTART;TZID=America/Edmonton:20240402T180000
DTEND;TZID=America/Edmonton:20240402T210000
DTSTAMP:20240417T024410Z
CREATED:20240215T185504Z
LAST-MODIFIED:20240417T024410Z
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SUMMARY:Reduction Woodcut
DESCRIPTION:BACK BY POPULAR DEMAND! \nThis intro to the reduction woodcut technique will teach the basics of the process through the creation of a 2 layer reduction woodcut at the Alberta Printmakers studio over 4 evenings. \nThe reduction process is a great way of introducing colour into your relief printing without the need to carve multiple blocks! You’ll be shown everything from designing your image\, to carving the block and finally setting the press and printing. \nNo experience required. \nWhat you’ll learn: ​​​​\n\nWhat should be considered when designing an image for the reduction process\nHow to transfer the image to the block\nThe basics of carving wood\nThe differences between carving wood and lino\nThe printing process\nHow to achieve accurate registration for multiple layers of colour\n\n \nAbout the instructor:\nMatt Dunlop is an English artist\, educator and printmaker based in Calgary and has a formal arts education from A.U. Bournemouth and the University of the Arts\, London.  He works in relief print\, primarily woodcut\, finding this ancient process to be the most enjoyable and natural way of translating the world around him into imagery. He has taught both online and in-person workshops at Alberta Printmakers. \nInstagram: @mattdunlopwoodcut  |  Website: mattdunlopdesign.com \nWorkshop Fee\n$275.00* prices not subject to GST \n*Access to using the A/P studio equipment\, including as a workshop participant\, requires an A/P membership. Annual memberships are $30 and $10 for current students and current recipients of AISH. Membership fees can be applied directly to your workshop registration. \nThis workshop includes all project supplies\, students are recommended to:\n\nImage ideas\, no bigger than 8”x 10”\nArrive no more than 10 minutes before class.\nPark in the stalls located in front of A/P or use free street parking.\nBring a lunch and water bottle.\nBring a notebook/sketchbook and pen.\nBring reading glasses if you need them for fine work.\nWear suitable clothing for working with ink and/or a work apron.\nWear close toed shoes and avoid overly loose long sleeves.\nTie back long hair when operating machinery.\nPersonal PPE (if uncomfortable with Shared Studio PPE)\n\nAdditional Notes: \n\nClass limited to 6 Participants\nAdults 18+ Years Old\n\nCode of Conduct:\nTo support an environment which promotes dignity and respect to all\, no form of intimidation\, bullying or harassment will be tolerated. Should this type of behaviour occur\, the A/P host and/or instructor reserves the right to remove any individuals from the workshop. \nAccomodation & Diversity:\nPlease inform A/P of any accessibility barrier(s) that may prevent you from getting the full benefit of participating in this program. A/P will respond to any requests in a timely manner and will work to support you within our capacity. \nA/P is committed to diversity and equality to all in employment\, volunteerism and contractors irrespective of their gender\, race\, ethnic origin\, disability\, age\, nationality\, national origin\, sexuality\, religion or belief\, marital status and social class. \nCancellation Policy:\nIf you have registered for an in-studio class or workshop at A/P but are unable to attend\, we require that you notify us as soon as possible\, and no later than 7 days before the class or workshop to receive a full refund. Registrants who cancel with 6 days or less notice will receive 50% of their registration fee. Once the class or workshop has begun\, A/P is unable to issue a refund as we are subject to a minimum enrolment in order to run. \nIf A/P cancels a course due to low enrolment\, notice will be given at least 72 hours in advance with a full refund issued. For classes cancelled due to unforeseen circumstances\, registrants will receive a full refund.
URL:https://albertaprintmakers.com/event/studio-workshop-reduction-woodcut/
LOCATION:A/P Studio\, 460 42 Avenue SE\, Calgary\, Alberta\, T2G 1Y5\, Canada
CATEGORIES:Workshop Past
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BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20240331T100000
DTEND;TZID=America/Edmonton:20240331T150000
DTSTAMP:20240328T155242Z
CREATED:20240215T185504Z
LAST-MODIFIED:20240328T155242Z
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SUMMARY:Studio Workshop: Intro to Silkscreen
DESCRIPTION:
URL:https://albertaprintmakers.com/event/studio-workshop-intro-to-silkscreen-4/
CATEGORIES:Past
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BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20240327T163000
DTEND;TZID=America/Edmonton:20240327T210000
DTSTAMP:20240417T182749Z
CREATED:20240417T035117Z
LAST-MODIFIED:20240417T182749Z
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SUMMARY:Printmaking: An Expansive Residency Showcase
DESCRIPTION:From October 2023 – March 2024\, Mountain Standard Time Performative Art (M:ST) and Alberta Printmakers (A/P) have had the pleasure of working with residents Jules de Guzman and Kamika Bianca Guerra-Walker. \nThis exhibition showcases the fruits of their labour and learning during their time participating with: Printmaking and Interdisciplinary Creation: an Expansive Residency\, coordinated in partnership by both organizations. \nJules de Guzman\nArtist Statement:\nHaving begun their membership at Alberta Printmakers (A/P) with Cyanotype Magic with Gloria Gelo\, Jules took Silkscreen in Colour with Morgan Melenka and fell in love with the process and outcomes of printmaking. Within this residency\, they have taken additional printmaking workshops including: Introduction to Etching with Alison Frank\, Botanical Inks with Skye Louis\, Reduction Woodcut with Matt Dunlop\, Photolithography Basics with Jamie Lee-Girodat\, Painterly Printmaking with Christina Krentz\, Secrets of Chine Collé with Myken McDowell\, and Linocut Cardmaking through A/P’s community programming. \nThey began their printmaking practice making works about notions of home\, observing and communicating their diasporic intimacies of displacement\, survival and longing. Working in their personal archives of memories\, personal belongings\, and photographs\, they attempt to bridge gaps in knowledge of fragmented identities through stories of migration\, colonialism and capitalism. They also utilized the archives at Mount Royal University to place themself within larger narratives of queer resilience as a queer\, non-binary Filipino\, finding comfort in the community of ancestors that have lived before them. By understanding ways they have survived in hostility\, they nurture a future of belonging\, healing and joy. Jules also built skills in bookbinding through one-on-one workshops with Barbara Sutherland\, expanding possibilities for self-publishing and art book making. They also learned about creative processes and research practices in creative mentorship with Marigold Santos. Their printmaking explorations were immensely supported by the staff at A/P: Tracy\, Jamie and Rachel. \nJules’ Artist Bio\nJules de Guzman (they/he) is a queer Filipinx writer/poet\, artist and researcher currently based in Mohkinstis. Their work is shaped by their experience as a second generation immigrant in the Filipino diaspora\, their educational background in sociology and creative writing\, and their involvement with local arts and music communities. Decolonial activism and advocacy for marginalized narratives drives their passion for library/archival work\, creative writing and artistic practice. DIY publishing and zine making is foundational in their practice with their poetry and writing being published in several arts and literary publications. They began taking classes at Alberta Printmakers in the summer of 2023 beginning with Cyanotype Magic. Since then\, they have taken 8 more workshops in the past year including photolithography\, reduction woodcut and silkscreening in colour. They are a community taught artist having expanded their artistic skills through workshops and kinship practices of drawing\, painting\, photography\, filmmaking\, music and collage. Jules is moving to Tiohtià:ke to do a master’s in library and information sciences so they can further their knowledge of archives\, libraries and art. \nKamika Bianca Guerra-Walker\nArtist Statement\nAs a 2023/24 Artist in Residence for Alberta Printmakers and M:ST Performative Art\, I have been blessed with the opportunity to dream\, create freely and learn at my own pace. I took on this journey with the intention of exploring unknown territory through the learning of a new medium\, allowing me the chance to adapt my practice with vast modes of expression to share my message. \nThrough AP’s workshops\, I have been able to learn photolithography\, silkscreen printing and etching. I explored ; What inspires me and whom? Who do I want to connect with in this world and why? What figures have been dancing around the inner world of my mind waiting to land onto paper or canvas? When can I let them out… is it safe now? I think so. \nMy creations reflect these thoughts\, honoring a plethora of artists and revolutionaries that have inspired me through their music\, writing or message – giving me a sense of self as a young Afro-Latina Woman.I move onto my next journey of creations through self exploration\, connection to my vast communities and echoing my calls to action; to love one another unconditionally and support the marginalized. \nKamika’s Artist Bio\nKamika Bianca Guerra – Walker of Jamaican and Chilean heritage is a Calgarian\, Multidisciplinary visionary – creating as a visual artist\, poet\, model\, actress\, and excels as a film director\, producer\, and writer. Her films have garnered recognition from prominent organizations for their ability to evoke empathy and change in treatment towards those experiencing mental illnesses\, addictions\, and houselessness. Kamika is the founder of mental health organization -The Walker Foundation\, sits on the board of the Black Arts and Culture Council of Calgary and Latin Artist collective\, Como Se Dice. She has directed short films\, documentaries\, docu-series\, commercial advertisements and music videos. \nKamika is currently engulfed in several professional development residences across Canada producing different works of art in printmaking\, mixed media\, film and poetry. She has been exploring her practice and fine tuning her skills through artist-in-Residence programs by Arts Commons\, The Canadian Academy of Cinema & Television\, Marriott Residence Inn\, Alberta Printmakers and M:ST Performative Art. Her ultimate aspiration is to continue exploring and blending artistic mediums to ignite societal change and inspire individuals to always approach life with compassion as their leading principle\, triumphing over their human instinctive judgment.
URL:https://albertaprintmakers.com/event/printmaking-an-expansive-residency-showcase/
LOCATION:NVRLND Boutique\, 1048 21 Ave SE\, Calgary\, AB\, T2G 1N2\, Canada
CATEGORIES:Other Exhibition Past,Past
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20240324T100000
DTEND;TZID=America/Edmonton:20240324T150000
DTSTAMP:20240328T155210Z
CREATED:20240312T203252Z
LAST-MODIFIED:20240328T155210Z
UID:10000068-1711274400-1711292400@albertaprintmakers.com
SUMMARY:Studio Workshop: Intro to Silkscreen #2
DESCRIPTION:February sold out so fast so we got another one for ya!  \nScreen printing (or silkscreen) is a printmaking technique where layers of ink are pulled through a mesh screen to create a wonderfully detailed image\, often with multiple layers of transparent ink interacting with one another. In this comprehensive workshop\, students will gain an understanding of the processes involved in creating a screen print on paper within a professional printmaking studio and will leave with the knowledge and experience required to produce work independently. \nNo experience required. \nThe instructor will cover: ​​​ \n\nBoth analogue and digital methods of creating stencilsCoating a screen with emulsion\nBurning the screen on the exposure unit\nMixing ink\nRegistering multiple layers\nPulling prints\nCleaning/ reclaiming screens\n\nNote: This class is for adults (18+ years) and is limited to 4 participants. \nInstructor Bio: \nOriginally from Montreal Quebec\, Statz completed his Bachelor of Fine Arts degree at the Alberta College of Art + Design in 2000\, and received his Masters of Fine Arts degree in Print Media at Concordia University in 2008. Currently based in Calgary Alberta\, Statz’s work has been exhibited across Canada\, The United States\, and Europe.\nInstagram: @statzart
URL:https://albertaprintmakers.com/event/studio-workshop-intro-to-silkscreen-5-2/
CATEGORIES:Multi-Day,Workshop Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/03/2024-03-Mar-_Intro-to-Screen-Printing-square.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240126
DTEND;VALUE=DATE:20240316
DTSTAMP:20240406T200816Z
CREATED:20240310T003835Z
LAST-MODIFIED:20240406T200816Z
UID:10000061-1706227200-1710547199@albertaprintmakers.com
SUMMARY:Even With Sharp Teeth You Can't Bite Water
DESCRIPTION:Even With Sharp Teeth You Can’t Bite Water is an exhibition of new works investigating The Diasporic Imaginary and the complications of self-fashioning while still in the midst of grappling with a fraught inheritance. The print works presented as part of this solo exhibition use abstraction and fragmentation as entry points to meditate on the spatialisation of diasporic consciousness and the utility of remaining within spaces of opacity\, unknowability and in betweenness. Through their avoidance of closure\, the works create an opening for re-spatializing the pluralistic\, multi-directional and multi-temporal scope of diasporic identity. With open linear geometries and unfixed topographies the prints utilise a sort of pragmatic ambiguity to foreground the slippery nature of witnessing\, the entangled relationship between place and placelessness and the fugitive\, emancipatory potential of a diasporic imaginary where belonging is allowed to exist not as an either/or\, but rather\, as an all at once. \n  \n\nNura Ali is a visual artist\, writer and curator\, living and working in Calgary\, Alberta. She received a BFA in Visual Art from Emily Carr University of Art and Design\, a BA in English Literature\, Art History and Italian from the University of Leicester and a BA in History from Goldsmiths College\, University of London. Her wide-ranging practise investigates the linguistic and cognitive scaffolding underpinning the ways we create meaning. Nura has shown her work across Canada and internationally\, received numerous awards and grants; most recently from the Canada Council for the Arts\, The Arts Canada Institute\, Calgary Arts Development and the Rozse Foundation and has taken part in various national and international residencies. When she is not curled up with a book or pottering around her garden\, Nura is dreaming up ways to dismantle oppressive structures and for this reason became one of the founding members of the Vancouver Artists Labour Union; a unionised workers cooperative whose mission it is to transform labour practises in the arts sector and create fair\, equitable and sustainable working conditions for artists and cultural workers.
URL:https://albertaprintmakers.com/event/even-with-sharp-teeth-you-cant-bite-water/
LOCATION:A/P Gallery\, 460 42 Avenue SE\, Calgary\, Alberta\, T2G 1Y5\, Canada
CATEGORIES:Exhibition Past,Past
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231209
DTEND;VALUE=DATE:20231217
DTSTAMP:20240406T201235Z
CREATED:20240310T011533Z
LAST-MODIFIED:20240406T201235Z
UID:10000062-1702080000-1702771199@albertaprintmakers.com
SUMMARY:2023 Not So Mini Exhibition
DESCRIPTION:About the Exhibition\nEach year\, A/P hosts a print exchange and exhibition in conjunction with an exciting sale and silent auction fundraiser. \nParticipants from around the globe submit an edition of ten original 8” x 10” prints to exchange with each other.  Two impressions of each edition are retained by A/P to sell and auction to lucky buyers/bidders at affordable rates. \nThe annual Not So Mini has become our most anticipated event of the year that showcases the work of local and international printmakers\, with all funds raised directly supporting A/P’s community programming. \nThis year we received 74 editions by artists from: \nCalgary\, AB; Edmonton\, AB; Spruce Grove\, AB; Sherwood Park\, AB; Saskatoon\, SK; Regina\, SK; Fruitvale\, BC; Kimberly\, BC; Lake Country\, BC; Nanaimo\, BC; Vancouver\, BC; Magog\, QC; Astoria\, NY; Asheville\, NC; Denton\, TX; Oxford\, MS; Moab\, UT; San Luis Potosi\, Mexico; Cuernavaca\, Mexico; Buenos Aires\, Argentina; Wonthella\, Australia; Ljubljana\, Slovenia; Brandenberg\, Germany; Tokyo\, Japan; and Viña de Mar\, Chile. \n  \n 
URL:https://albertaprintmakers.com/event/2023-not-so-mini-exhibition/
LOCATION:A/P Gallery\, 460 42 Avenue SE\, Calgary\, Alberta\, T2G 1Y5\, Canada
CATEGORIES:Exhibition Past,Past
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231013
DTEND;VALUE=DATE:20231202
DTSTAMP:20240407T144756Z
CREATED:20240310T013515Z
LAST-MODIFIED:20240407T144756Z
UID:10000063-1697155200-1701475199@albertaprintmakers.com
SUMMARY:Centenary
DESCRIPTION:“What you see is a vacant space left by a rider who has crossed the desert!” \nBahman Mohasses – Iranian Contemporary Artist (1931-2010) \nThe main technique I have used to create this series of work is Mezotint. Mezzotint is a labor-intensive printmaking process which begins with the inky blackness of a fully textured or “rocked” copper plate\, and by burnishing and scraping the plate I create smooth places where the ink does not stick. Using the same plate\, Mezzotint allows for the reduction of tones to make new images and forms while the plate is inevitably erased by its own process; as a metaphor for life of an artist who leaves part of his existence into the works that outlive him. \nAs the main theme of these works is “life and its undeniable result: Death\,” this reductive process is a good reflection of the way that I consider the most inevitable happening in the Human being’s life. Rauschenberg’s “Erased De Kooning Drawing” had a major impact on forming this process. To take this concept further\, I have destroyed some of the physical prints by scratching\, burning\, pouring some concealing material and using other impromptu ways to further destroy them\, as I believe not every artist is lucky enough to have all of his artworks preserved. \nMehdi Darvishi was born in the summer of 1988\, coinciding with the Iran – Iraq peace resolution. In his war-stricken hometown\, Mehdi grew up unexposed to art galleries and museums. In 2007 he left home to earn a BFA in Painting at the University of Tehran where he learned basic printmaking techniques such as relief and intaglio. After receiving his degree in 2011\, his interest in printmaking grew into a life’s pursuit. He has since exhibited in over 30 countries and has participated in more than two hundred global exhibitions\, competitions\, residencies\, and as a visiting artist. His works have been widely collected by museums such as the China Printmaking Museum\, the Ekaterinburg Museum of Fine Art\, Jyvaskyla Museum of Fine Arts\, the Tehran Museum of Contemporary Art\, and the US Library of Congress. He is the recipient of the Southern Graphics Conference Fellowship as well as the Pritzker fellowship from the Arts Institute of Chicago. He is also a finalist for the prestigious award “Mario Avati” that takes place in the fall of 2023 at the Academie Des Beaux-Artes in Paris.
URL:https://albertaprintmakers.com/event/centenary/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/03/exhibition-image-Mehdi-Darvishi.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230609
DTEND;VALUE=DATE:20230722
DTSTAMP:20240407T150549Z
CREATED:20240407T150012Z
LAST-MODIFIED:20240407T150549Z
UID:10000087-1686268800-1689983999@albertaprintmakers.com
SUMMARY:Fuel
DESCRIPTION:About the exhibition \nIn the summer of 2022\, Nat Cann participated in a residency with the Calgary Allied Arts Foundation’s (CAAF) to find what fuels the sprawling city of Calgary\, Alberta\, a bustling place of quiet modernity within western Canada and the traditional territories of the Blackfoot Confederacy (Siksika\, Kainai\, Piikani)\, the Tsuut’ina\, the Îyâxe Nakoda Nations\, the Métis Nation. This was to be a new body of work entirely separate from current material\, something livelier than the current lonesomeness of the Atlantic. Not that Nat was seeking a relationship to the east coast as the city is far too big to pinpoint anything that particular. What blossomed\, perhaps in vain\, was a similarity to previous projects wherein towering pillars of residence\, commerce and capitalised prospect were found to be upheld by the local establishments and a startling amount of coffee. Using the very same products used to fashion these buildings both in construction and décor\, Fuel is an inspection of glass pillars built atop localized establishments and the people\, things\, and actors who dwell between such venues.  \nFuel was made possible by the Calgary Allied Arts Foundation’s (CAAF) national residency program\, as well as ArtsNB’s assistance funding. \nAbout the artist \nNat Cann (he/him) is an Atlantic Canadian based printmaker whose work hones upon the haunting of lands—relentless industries keeping afloat Canadian notions of colonialist heritage\, intentions which often find themselves misguided and victim to degradation by nature\, time\, economics\, and shifts in our understanding. Nat’s residencies and exhibitions have taken him from coast to coast where he’s gratefully acted as a mentor\, instructor\, and technical assistant to numerous students and professionals unversed in printmaking. His recent print projects have been intertwined with a variety of publications\, exhibitions\, and research grants\, and his efforts in these endeavors has been consistently supported by ArtsNB’s funding programs and the Canada Council for the Arts. Nat obtained his BFA from Mount Allison University (2012) and now resides in Moncton\, New Brunswick\, an Acadian colonial city which sits on the unceded territory of the Wolastoqiyik (Maliseet) and Mi’kmaq Peoples.
URL:https://albertaprintmakers.com/event/fuel/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/04/Exhibition-Nat-Cann.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230331
DTEND;VALUE=DATE:20230520
DTSTAMP:20240407T151945Z
CREATED:20240407T151232Z
LAST-MODIFIED:20240407T151945Z
UID:10000089-1680220800-1684540799@albertaprintmakers.com
SUMMARY:My Data Body
DESCRIPTION:About the exhibition \nMy Data Body is a collaborative\, multimedia installation that includes sculptures\, video projection\, large scale prints\, an artist book\, a zine\, and a virtual reality artwork. My Data Body brings together different forms of personal data such as medical scans\, social media\, biometric\, banking and health data in an attempt to make visible and manipulable our many intersecting data corpuses so that in VR they can be held\, inspected and dissected. In My Data Body\, the medically scanned\, passive\, obedient\, semi-transparent body becomes a data processing site that can be pulled apart\, de- and re-composed or as Yuval Harari warns ‘surveilled under the skin’.  \nWhen developing the My Data Body VR project\, Oliver recognized the potential of the VR medium as a compositional and layering space where digital assets can be spatially arranged and then captured and exported as separate image layers. In this exhibition\, Oliver explores this affordance to create a series of large scale laser engraved images into spray paint on paper\, and a large artist book comprised on neon woodcut and screen prints.  \nMy Data Body is an interdisciplinary and collaborative project made as part of the research project Know Thyself as a Virtual Reality (KTVR). Collaborators include Marilène Oliver (visual art)\, Scott Smallwood (sound)\, J.R. Carpenter (poetry) and Stephan Moore (sound).  \nAbout the artist \nMarilène Oliver is an associate professor of printmaking and media arts at the University of Alberta. Marilène works at a crossroads between new digital technologies and traditional print and sculpture\, with her finished objects bridging the virtual and the real worlds. Oliver uses various scanning technologies\, such as MRI and CT to create artworks that invite us to materially contemplate our increasingly digitized selves and better understand what sociologist Deborah Lupton terms our\, human-data assemblages. Marilene’s print works have been featured in several high-profile printmaking books including Installations and Experimental Printmaking by Alexia Tala and Printmaking: a Contemporary Perspective by Paul Coldwell.
URL:https://albertaprintmakers.com/event/my-data-body-2/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/png:https://albertaprintmakers.com/wp-content/uploads/2024/03/My-Data-Body-Installation-2-test.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230120
DTEND;VALUE=DATE:20230304
DTSTAMP:20240407T151859Z
CREATED:20240407T151859Z
LAST-MODIFIED:20240407T151859Z
UID:10000090-1674172800-1677887999@albertaprintmakers.com
SUMMARY:Residue
DESCRIPTION:About the exhibition \nAndrew Testa and Guillermo Trejo are interested in the in-between spaces of printmaking. In their individual practices they see collaboration as necessity (not necessarily collaborating with one another but collaborating with materials\, the studio\, the ground\, etc.). They are interested in the lost and found relationships in print as translation (an imprint of an encounter between two or more things). Andrew creates images through gestures of walking and moving slowly while Guillermo creates through a resourcefulness and responsiveness to the print studio itself. Seeing both artists’ work together\, there is a presence of something that is slow (a long walk documenting many small marks on an intaglio plate being bumped and pulled)\, and something that is quick (a gesture towards space/studio becoming a monoprint). This exhibition explores in-betweenness\, collaboration\, and translations. It questions what becomes residue\, imparting a question of the encounters each artist explores together and apart.  \nAbout the artists \nAndrew Testa (he/him): Andrew Testa is an artist\, writer and educator currently living and working in Ktaqmkuk\, also known as Newfoundland. He has been awarded numerous grants including ArtsNL and a VP Grenfell Research Grant\, has exhibited nationally and internationally\, and has participated in residencies and conferences across Canada. Testa is the Chair of the Board of Directors at St. Michael’s Printshop and is an Assistant Professor in printmaking at Grenfell Campus\, Memorial University of Newfoundland. \nGuillermo Trejo is a Mexican/Canadian Artist based in Ottawa. He completed his BFA at the National School of Painting Sculpture and Engraving in Mexico City with a specialization in printmaking and moved to Canada in 2007. The experience of immigration and distance has shaped Trejo’s work. Since moving to Ottawa\, he has earned an MFA from the University of Ottawa and has been an active member of the artistic community.
URL:https://albertaprintmakers.com/event/residue/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2023/11/IMG_1780.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20221209
DTEND;VALUE=DATE:20221217
DTSTAMP:20240407T153641Z
CREATED:20240407T153640Z
LAST-MODIFIED:20240407T153641Z
UID:10000091-1670544000-1671235199@albertaprintmakers.com
SUMMARY:2022 Not So Mini Exhibition
DESCRIPTION:About the Exhibition\nEach year\, A/P hosts a print exchange and exhibition in conjunction with an exciting sale and silent auction fundraiser. \nParticipants from around the globe submit an edition of ten original 8” x 10” prints to exchange with each other.  Two impressions of each edition are retained by A/P to sell and auction to lucky buyers/bidders at affordable rates. \nThe annual Not So Mini has become our most anticipated event of the year that showcases the work of local and international printmakers\, with all funds raised directly supporting A/P’s community programming. \n2022’s Not So Mini collection includes 51 editions by artists from: \nCalgary\, AB; Cochrane\, AB; Edmonton\, AB; St. Alberta\, AB; Stoney Plain\, AB; Saskatoon\, SK; Almonte\, ON; Surrey\, BC; Trail\, BC; Kamloops\, BC; Vancouver\, BC; Magog\, QC; Ogden\, QC; Verdun\, QC; Oakland\, CA; Astoria\, NY; Manhattan\, NY; Philadelphia\, PA; Derby\, UK London\, UK; Gloucestershire\, UK; Wechsel\, Austria; Enmore\, Australia; Ljubljana\, Slovenia; Nedelja\, Slovenia; Tokyo\, Japan; and Madrid\, Spain \n  \n 
URL:https://albertaprintmakers.com/event/2022-not-so-mini-exhibition/
LOCATION:A/P Gallery\, 460 42 Avenue SE\, Calgary\, Alberta\, T2G 1Y5\, Canada
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/04/2022-Not-So-Mini-exhibition.jpg
GEO:51.01761791002;-114.05259348668
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=A/P Gallery 460 42 Avenue SE Calgary Alberta T2G 1Y5 Canada;X-APPLE-RADIUS=500;X-TITLE=460 42 Avenue SE:geo:-114.05259348668,51.01761791002
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20221007
DTEND;VALUE=DATE:20221126
DTSTAMP:20240407T160809Z
CREATED:20240407T160151Z
LAST-MODIFIED:20240407T160809Z
UID:10000092-1665100800-1669420799@albertaprintmakers.com
SUMMARY:Found in oblivion
DESCRIPTION:About the exhibition \nFound in oblivion is an exhibition in praise of lost places and people. It is an attempt to revive those memories which might have been forgotten over time\, a contemporary interpretation of historical images by bringing attention to old family photographs of Iranians. \nThis exhibition consists of four projects: \nDistorted memories includes old photographs of children folded in transparent papers with printed the pattern of Persian handwriting “Do you remember?” which is borrowed from the text that had been written at the back of one of the photographs. Using the transparent papers refers to the sheeting papers used in old family albums to protect the photos. \nWanderers series is an attempt to bring life back to abandoned houses\, it is a combination of contemporary photos of demolished and abandoned houses and the ghostlike figures of people taken from old family photos that have been printed on transparent papers. \nA letter to… is the embossment of texts and letters that were written at the back of photos and postcards on white papers in transparent envelopes that alludes to the concept of emerging and disappearing of memory and history at the same time. \nDisplacement a series of double layered frames shows people detached from their surrounding environment and places without people. It is an invitation to touch\, observe and discover memories and stories of distance and displacement. \nAbout the artist \nMelika Forouzan Pour was born in Tehran\, Iran in 1986. She graduated in the bachelor of Fine arts and Master of Arts in photography from the University of Tehran\, Iran. She took her second Master in Fine Arts from the University of Calgary. Over the years her focus shifted from photography to painting and printmaking. She explores place attachment and memory in her works. Her art pieces has been presented in exhibitions in Iran\, Britain and Canada. She has also published some articles in the field of family photography and collective memory in different\nIranian Art Journals. Melika has been living in Calgary since February 2021 and her pronouns are she/her.
URL:https://albertaprintmakers.com/event/found-in-oblivion/
LOCATION:A/P Gallery\, 460 42 Avenue SE\, Calgary\, Alberta\, T2G 1Y5\, Canada
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/04/Exhibition-Melika-Forouzan-Pour.jpg
GEO:51.01761791002;-114.05259348668
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=A/P Gallery 460 42 Avenue SE Calgary Alberta T2G 1Y5 Canada;X-APPLE-RADIUS=500;X-TITLE=460 42 Avenue SE:geo:-114.05259348668,51.01761791002
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220401
DTEND;VALUE=DATE:20220514
DTSTAMP:20240407T161230Z
CREATED:20240407T161230Z
LAST-MODIFIED:20240407T161230Z
UID:10000093-1648771200-1652486399@albertaprintmakers.com
SUMMARY:Zones / Indicators
DESCRIPTION:About the exhibition \n“My practice as an artist begins with the study and research of parallel places and ecosystems. I observe and identify how they mirror each other’s function and form\, and how\, through their similarities they are able to exhibit uniqueness. Studying these sites is especially important in the face of climate change\, as highly sensitive places like islands and alpine areas become more vulnerable to fluctuating temperatures\, rising lake and sea levels\, which in turn impacts the survival of flora and fauna in these vulnerable landscapes. Specifically\, awareness of the presence of indicator species such as the American Pika\, or the distribution of the Purple Pitcher plant demonstrate the geographic range of ecological connectivity\, as well as indicate the zonal shifts within a warming climate. \nReferencing my own experiences traveling through altitudinal zones to alpine areas\, and across latitudinal lines\, I create work which connects geographically disconnected landscapes focusing on their shared ecologies: how each site is connected through climatic shifts\, soil qualities\, and habitat range. I repetitively rework traditional copperplate matrices\, often in combination and collage with photo-lithography\, and photography to extract observations\, uncovering cultural and natural histories.” \nAbout the artist \nElizabeth Claire Rose was born in Central Illinois and grew up exploring natural areas of the midwestern United States\, which cultivated her creativity and interests in ecology\, biogeography\, and the ecological value of varied landscapes. Rose received her MFA in Printmaking from Tyler School of Art and Architecture at Temple University and a BA in Fine Art with a minor in Wilderness Studies from the University of Montana. Rose is an alumna of the Fulbright Program in Poland (2019-2020) where she was awarded a research grant in printmaking.
URL:https://albertaprintmakers.com/event/zones-indicators/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/04/Exhibition-Elizabeth-Claire-Rose.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220114
DTEND;VALUE=DATE:20220305
DTSTAMP:20240407T162151Z
CREATED:20240407T162151Z
LAST-MODIFIED:20240407T162151Z
UID:10000094-1642118400-1646438399@albertaprintmakers.com
SUMMARY:WYSIWYG
DESCRIPTION:About the exhibition \nWhat is so new about “new media”? The original definition of “media” meant “material” (wood\, bronze\, ink\, and so on). How ironic is it that new media (or digital media) is viewed as holding an immaterial existence? The digital image is “made” of light and a language of binary code\, not ink and paper. But why is this shift towards immaterialism an important distinction between our original definitions of media? As printmakers\, we know why the adoption of new forms of media marks important cultural shifts\, having intimately studied the implications of the printing press. With the birth of print media\, radical changes in fundamental concepts such as originality\, ephemerality\, identity\, and time were forced to suit the existing media models. We are now once again faced with an epistemological and ontological crisis of the image in contemporary times. \nMaterials such as dust are known for their strong connection to the passage of time and human indexicality. However\, through the works in this exhibition\, many fundamental concepts of being are defamiliarized through subtle digital manipulations of familiar materials and surfaces. \nAbout the artist \nAlex Linfield is a multidisciplinary artist\, newly based in Mohkinstsis/Calgary. Linfield holds an MFA from NSCAD University and a BFA from the University of Alberta.
URL:https://albertaprintmakers.com/event/wysiwyg/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2023/11/IMG_0744.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210917
DTEND;VALUE=DATE:20211106
DTSTAMP:20240409T023728Z
CREATED:20240407T163733Z
LAST-MODIFIED:20240409T023728Z
UID:10000095-1631836800-1636156799@albertaprintmakers.com
SUMMARY:Basic Social Unit Hierarchies
DESCRIPTION:About the exhibition \nBasic Social Unit Hierarchies focuses on matriarchal and patriarchal elements within a basic social unit – a family. I study the distinction between these two models\, based on my and my partner’s genealogical histories. I investigate the generational (three generations) and ethnographic (Slavic and Acadian) differences and transformations regarding gender-imposed roles within studied families. I hope that the process\, along with the installation culminating my research will\, to some extent\, elucidate my position and identity as a woman in my own family.  \nThe work consists of two pillars. The first one depicts the dynamics between matriarchal and patriarchal elements within my family. The second one is a graphic representation of these dynamics in my partner’s family. The inspiration for this project was my curiosity to find out how our (my and my partner’s) different histories and experiences have impacted our understanding of the partnership in a domestic context. I want to be aware of any behavioral tendencies we both might have inherited into our home life. I hope for this piece to also inspire my audience to revisit the homes where they come from and to analyze how the domestic models that they have experienced influence their current relationships.  \nInspired by the 18th century Toile de Jouy\, my pieces are printed on canvas in monochromatic blues and reds. The motifs of traditional Toile de Jouy depicted idyllic scenes of every-day life. My drawings of family life might seem to be pleasant at first\, but after a closer look\, they also show loneliness\, neglect\, boredom\, and anxiety.  \nAbout the artist \nKasia Koralewska is a textile-based artist and art educator currently living in Calgary\, Canada. She received her education at the Alberta College of Art & Design in Calgary\, Canada and Academy of Fine Arts in Lodz\, Poland (Master of Fine Arts 2009). She presently teaches in the Fibre program at the Alberta University of the Arts.  \nHer research focuses on various techniques and processes that transform the surface of the cloth. Her artistic practice involves creating large-scale silkscreen printed\, dyed\, and painted textiles\, wearable objects\, drawings\, and installations.  \nHer work has been exhibited in Poland\, Germany\, Czech Republic\, and Canada. 
URL:https://albertaprintmakers.com/event/basic-social-unit-hierarchies/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/04/exhibition-kasia-koralewska.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210708
DTEND;VALUE=DATE:20210725
DTSTAMP:20240424T034340Z
CREATED:20240424T033305Z
LAST-MODIFIED:20240424T034340Z
UID:10000112-1625702400-1627171199@albertaprintmakers.com
SUMMARY:Futurology at Martha Street Studio
DESCRIPTION:Alberta Printmakers 30th Anniversary Portfolio: FUTUROLOGY \nFuturology\, is the study of postulating possible\, probable\, and preferable futures\, and the worldviews and myths that underlie them. \nThis exhibition is part of a print-exchange between Martha Street Studio and the Universities of Brandon & Manitoba\, Alberta Printmakers\, and Vague Démographique (QC). \nArtists included in the Portfolio and exhibition include:  \nKate Baillies\, Marnie Blair\, Carole Bondaroff\, Katie Marie Bruce\, April Dean\, Graeme Dearden\, Nicole Edmond\, Alison Frank\, K. Gwen Frank\, Iren Gibson\, Trevor Gieske\, Jacqueline Huskisson\, Heather Huston\, Eveline Kolijn\, Irena M. Konguswan\, Cate Kuzik\, Heather Leier\, Carol Mannas\, Shinobu Mitsuhashi\, Sara Norquay\, Carrie Phillips-Kieser\, Ryan Statz\, Robert Truszkowski\, Heather Urness\, Tracy Wormsbecker
URL:https://albertaprintmakers.com/event/futurology-at-martha-street-studio/
LOCATION:Martha Street Studio\, 11 Martha St\, Winnipeg\, Manitoba\, R3B 1A2\, Canada
CATEGORIES:Other Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/04/Futurology-at-martha-street_documentation-by-sarah-fuller.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20201002
DTEND;VALUE=DATE:20211121
DTSTAMP:20250718T200110Z
CREATED:20240408T222335Z
LAST-MODIFIED:20250718T200110Z
UID:10000096-1601596800-1637452799@albertaprintmakers.com
SUMMARY:Citizen of the World
DESCRIPTION:About the exhibition \n“Citizen of the World is an exhibition of 6 x 6 inch linocut portraits portraying 300 individual members of our human collective (society) in an extended present tense. It is a portrait of humanity but the individual portraits reveal diversity within the collective. As our identities are bound up with our ideas of difference and uniqueness\, these prints challenge the viewer’s biases. Even though a photograph is often considered to be “more true” than a picture in another medium\, all mediums contribute their own visual quality to the interpretation of a subject. Some viewers have said the portraits capture more than physical features and the subjects themselves had a say in how they were portrayed as they chose or approved of the photograph used to make the linocuts. \n\n  \n\nThe interpretive nature of the viewer’s relationship to each subject adds to the discussion of what these portraits mean together and individually. We see the work through the lens of our personal\nexperiences\, ideas and culture. For me\, the portraits bring forth memories and emotions attached to each of the subjects. Each is someone I know or have spent time with\, even if only for a single\nconversation. It is my interaction with each individual that I think about while cutting the plate. To be thought about by others is a kind of blessing. I hope the accumulative acts of making and view-\ning contributes to the energy of goodwill in the world.” \nAbout the artist \nSara Norquay – Born in Edmonton\, raised in Toronto\, and employed as a free-lance Opera Equity Stage Manager during her twenties while living in Alberta\, Sara attended the Alberta College of Art in the mid-70s. After receiving a B.A. in English from the University of Toronto and a B.Ed from Queens University in the 80’s\, she married and went to live in Santa Barbara\, California. There she raised children\, taught\, and exhibited prints and artist books before moving back to Edmonton in 2009. She is known in Alberta for her Lino portraits\, large woodcuts\, and artist books.
URL:https://albertaprintmakers.com/event/citizen-of-the-world/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/04/exhibition_Sara-Norquay.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200306
DTEND;VALUE=DATE:20200418
DTSTAMP:20240409T025511Z
CREATED:20240409T025511Z
LAST-MODIFIED:20240409T025511Z
UID:10000097-1583452800-1587167999@albertaprintmakers.com
SUMMARY:Anthology of Mourning
DESCRIPTION:About the exhibition \nThe works in this exhibition explore the expanded notions of mourning; meaning not confined to the loss of loved ones\, but includes displacement\, loss of identity\, community\, ideals\, and loss of self. More specifically\, mourning is examined from an ethnological perspective\, reflecting on how our heritage\, belief systems\, genealogy\, effects or guides our experiences of grief. In Anthology of Mourning\, these ideas are explored through printed works and drawings\, often referred to as still-lifes and tapestries. The works are created from the assemblage of an extensive collection of imagery and visual lexicon that I have been building and referencing throughout my practice. \nThere is a strong presence of textile designs and traditions in the works. My family working in this industry\, fabric has always been part of my visual landscape evoking notions of labour\, class and cultural identity. In my own translation of textile work\, I’m interested in exploring cloth as a fleshy extension of the body. Cloth and patterning becomes a communicative adornment\, expressing something the body cannot. It’s a means of hiding the self but also revealing the self. Through cryptic language\, repetition and the appropriation of traditional motifs\, the works act as pictograms using patterning as text\, revealing a desire to establish a dialogue between past and present\, seeking to keep what as left alive. \nAbout the artist \nStephanie de Couto Costa is a visual artist and writer in Montreal\, Canada. Interested in process driven material practices\, her work encompasses different media such as printmaking\, textiles\, drawing and installation. She has participated in a number of international exhibitions and residencies\, including a research and creation project in Lisbon\, Portugal.  She completed a MFA in Studio Arts from Concordia University\, where she works as an Assistant Professor in the division of Print Media.
URL:https://albertaprintmakers.com/event/anthology-of-mourning/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/04/Exhibition_Stephanie-de-Couto-Costa.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200110
DTEND;VALUE=DATE:20200229
DTSTAMP:20240424T023826Z
CREATED:20240409T031505Z
LAST-MODIFIED:20240424T023826Z
UID:10000099-1578614400-1582934399@albertaprintmakers.com
SUMMARY:Telling Stories Otherwise
DESCRIPTION:About the exhibition \n“Over the past four years\, I have been co-creating art in collaboration with people living with illness in communities across Canada. I have been working with recent transplant patients\, head and neck cancer patients\, suicide survivors in the Arctic\, and psychiatric patients at the Centre for Addiction and Mental Health. In this exhibition\, embedded in artworks\, you will see the works we co-created as I spent time with these individuals and in their communities. You will also see my own illness experiences and how they weave and knot with the work\, as well as insights created with patients. Illness is a vital meaning-making event in people’s lives\, and the stories we use to narrate our illness to others and ourselves matter deeply. I aim to tell stories about the experience of illness with the hope that this might increase our confidence and vocabulary to discuss\, experience\, and express these meaningful events.” \nAbout the artist \nBrad Necyk is a multimedia artist and writer in Canada whose practice engages with issues of medicine\, mental health\, and precarious populations and subjects. His works include drawings and paintings\, still and motion film\, sculpture\, 3D imaging and printing\, virtual reality\, and performance. He recently completed a research-creation PhD in Psychiatry and was awarded the Governor General’s Gold Medal.
URL:https://albertaprintmakers.com/event/telling-stories-otherwise/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/04/exhibition_brad-necyk.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20191025
DTEND;VALUE=DATE:20191130
DTSTAMP:20240409T030506Z
CREATED:20240409T030506Z
LAST-MODIFIED:20240409T030506Z
UID:10000098-1571961600-1575071999@albertaprintmakers.com
SUMMARY:Borough Burrow
DESCRIPTION:About the exhibition \n“When I consider my prints\, it is always in the context of the city; the lived realities of its inhabitants\, the politics of displacement\, the concept of home\, and the trauma of constant change and restructuring. My work critically engages with aspects of urban development and displacement; considering how wildlife is dislodged by expanding metropolitan areas\, as well as how gentrification acts as an extension of colonialism. I focus on the changing concept of what it means to live in cities\, as well as what cities should be\, and for whom they should be designed. \nMy recent work consists of printed installations\, ranging in size from ten-meter long murals to small pieces\, which are collaged on-site to form immersive environments. Currently\, I am developing a series of black and white wood- cuts that\, by virtue of their dimensions and verticality\, emulate buildings in high density urban landscapes\, forming a cityscape that is both familiar and\nanomalous. Manipulating photographic images collected at sites of urban development\, I superimposed images of wildlife into these spaces\, creating strange and unnerving scenes. I also place printed wildlife back into the city by wheat-pasting it in areas where urban spaces become overgrown\, where plants meet concrete.” \nAbout the artist \nChristeen Francis is a printmaker\, musician\, and activist based in Montreal. She is committed to print that engages with local communities and the public at large. Her research interests include urban wildlife and the homogenization of cities and culture. She has exhibited in Canada\, the United States\, Germany\, and Iceland.
URL:https://albertaprintmakers.com/event/borough-burrow/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/04/exhibition_christeen-francis.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20191006
DTEND;VALUE=DATE:20191117
DTSTAMP:20240424T035301Z
CREATED:20240424T035301Z
LAST-MODIFIED:20240424T035301Z
UID:10000114-1570320000-1573948799@albertaprintmakers.com
SUMMARY:Futurology at SNAP - Society of Northern Alberta Print-Artists
DESCRIPTION:Alberta Printmakers 30th Anniversary Portfolio: FUTUROLOGY \nFuturology\, is the study of postulating possible\, probable\, and preferable futures\, and the worldviews and myths that underlie them. \nArtists included in the Portfolio and exhibition include:  \nKate Baillies\, Marnie Blair\, Carole Bondaroff\, Katie Marie Bruce\, April Dean\, Graeme Dearden\, Nicole Edmond\, Alison Frank\, K. Gwen Frank\, Iren Gibson\, Trevor Gieske\, Jacqueline Huskisson\, Heather Huston\, Eveline Kolijn\, Irena M. Konguswan\, Cate Kuzik\, Heather Leier\, Carol Mannas\, Shinobu Mitsuhashi\, Sara Norquay\, Carrie Phillips-Kieser\, Ryan Statz\, Robert Truszkowski\, Heather Urness\, Tracy Wormsbecker
URL:https://albertaprintmakers.com/event/futurology-at-snap-society-of-northern-alberta-print-artists/
LOCATION:Society of Northern Alberta Print Artists\, 12056 Jasper Avenue\, Edmonton\, Alberta\, T5K 0P3\, Canada
CATEGORIES:Other Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/04/futurology-at-snap.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190913
DTEND;VALUE=DATE:20191020
DTSTAMP:20240424T024739Z
CREATED:20240424T024739Z
LAST-MODIFIED:20240424T024739Z
UID:10000108-1568332800-1571529599@albertaprintmakers.com
SUMMARY:In Bloom or in Doom
DESCRIPTION:About the exhibition \n“In Bloom or in Doom reimagines contemporary narratives from major online news sources that overflow our vision with images of consumerism\, politics\, and war. The exhibition focuses particularly on the human body\, shopping carts\, and drones\, which I consider the most iconic symbols of today’s visual culture. The body is the container of our individual vision of the world\, the shopping cart is the container of our desires and needs\, and the drone stands for our collective “omnipresent” digital vision. \nDigitally reproduced images are constantly changing/moving\, defining our living space and catching our eyes with emotion and shock value. However\, I feel that due to the current era of image oversaturation\, we become more desensitized in reflecting how the symbolic meaning of these images actually affect our view of the world. For this reason\, I turn to medieval\, “slow-paced” media as egg tempera and relief printing for “really looking” at scenes that define our society and questioning if we are thriving or heading towards an imminent downfall.” \nAbout the artist \nAdrian Gor’s work combines writing\, egg-tempera painting\, relief printing\, and hand crafted organic materials. His medieval-inspired multi-processed techniques of line making and gilding drives him to question todays symbols of human desire and containers of truth in our visual culture. Adrian completed his PhD in the Humanities (Interdisciplinary) Program at Concordia University (2015) combining studies in Theology/Philosophy\, Art History\, and Studio Arts. He also has an MFA in Drawing/Painting from the School of Visual Arts\, Univer- sity of Windsor (2010). \n 
URL:https://albertaprintmakers.com/event/in-bloom-or-in-doom/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/04/exhibition_adrian-gor.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190903
DTEND;VALUE=DATE:20190929
DTSTAMP:20240424T034335Z
CREATED:20240424T034254Z
LAST-MODIFIED:20240424T034335Z
UID:10000113-1567468800-1569715199@albertaprintmakers.com
SUMMARY:Futurology at Artpoint Gallery and Studios Society
DESCRIPTION:Alberta Printmakers 30th Anniversary Portfolio: FUTUROLOGY \nFuturology\, is the study of postulating possible\, probable\, and preferable futures\, and the worldviews and myths that underlie them. \nArtists included in the Portfolio and exhibition include:  \nKate Baillies\, Marnie Blair\, Carole Bondaroff\, Katie Marie Bruce\, April Dean\, Graeme Dearden\, Nicole Edmond\, Alison Frank\, K. Gwen Frank\, Iren Gibson\, Trevor Gieske\, Jacqueline Huskisson\, Heather Huston\, Eveline Kolijn\, Irena M. Konguswan\, Cate Kuzik\, Heather Leier\, Carol Mannas\, Shinobu Mitsuhashi\, Sara Norquay\, Carrie Phillips-Kieser\, Ryan Statz\, Robert Truszkowski\, Heather Urness\, Tracy Wormsbecker
URL:https://albertaprintmakers.com/event/futurology-at-artpoint-gallery-and-studios-society/
LOCATION:Artpoint Gallery and Studios Society\, 625 11 Ave SW Suite 205\, Calgary\, Alberta\, T2R 0E1\, Canada
CATEGORIES:Other Exhibition Past,Past
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190426
DTEND;VALUE=DATE:20190608
DTSTAMP:20240424T030059Z
CREATED:20240424T025900Z
LAST-MODIFIED:20240424T030059Z
UID:10000109-1556236800-1559951999@albertaprintmakers.com
SUMMARY:Traversing the line\, with no fixed point
DESCRIPTION:About the exhibition \nEssay by Sally McKay – \nBriana Palmer’s multi-layered installation might appear whimsical at first glance – a miniature world designed for entertainment and delight. But her references to trains\, toys and childhood all have deeper\, troubling meanings. Palmer grew up in Revelstoke\, BC\, a small city near the western edge of Canada’s colonial frontier. The railway passed through town. Towering trestles featured in everyday life. At night\, the sound of rail cars crashing over the tracks soothed children to sleep in their beds. For Palmer it was a comfortable life. Troubling terms like “settler” and “colonial” only emerged for her after she left Revelstoke\, gained more life experience\, and began to question what she calls the “white bread” assumptions of her upbringing. \nIn Canada’s dominant mythology\, the railway brought the nation together and fostered economic wealth. But Palmer’s train disrupts this narrative. It chugs along from place to place\, not a symbol of prosperity\, but a vehicle of disruption. Palmer wants us to consider colonizers’ displacements of Indigenous communities that severed their embodied connections with the land; as well as the forced labour of Chinese and Italian immigrants\, many of whom died while building the railway\, and all of whom were subjected to racist violence on the project. Model trains\, invented in the late 19th century\, had become a popular toy for middle-class boys by the 1950s. Palmer asks\, “Historically\, who gets to play with model trains? Who creates these miniature Utopian worlds\, constructing their own idealized versions of society?” Palmer’s diorama does not present a comprehensible social order\, but rather a world of floating and disjointed biomorphic forms in which absurdist juxtapositions defy structured\, Western narratives of home and place. \nPrints and wall drawings further extend Palmer’s critique. Trained as a print-maker\, she conceptually connects the printing press and the railway because both disseminate Western ideologies. The Gutenberg Press was used for the first mass-produced Bibles\, spreading literacy but also imposing top-down models for social behaviour in a burgeoning capitalist economy. Further probing her own “white bread” upbringing\, Palmer uses print-making to repurpose nostalgic illustrations from children’s encyclopaedias. She disrupts their familiar narratives with quotes from racist micro-aggressions that she has personally witnessed in her daily life. A large\, black and white woodcut banner spans the gallery walls. While aesthetically sumptuous\, the imagery of barbed wire and ruined landscape speaks of war and devastation. During a recent residency in Slovenia\, Palmer was struck by a stone road made by Russian POWs in WWI\, thousands of whom lost their lives. “Now\,” she says\, “it’s just a route for tourists hiking up a mountain to a park.” The barbed wire also resonates with a Canadian war-time context. “Slocan\, one of Canada’s biggest internment camps\, was just down the road from where I grew up\,” Palmer explains. Again\, Palmer invokes a sense of home\, but\, no longer comfortable and complacent\, this home is fraught and troubled with the settler-inflicted violence of Canada’s colonial past. \nAbout the artist \nBriana Palmer’s lives in Hamilton Ontario\, and teaches in the studio arts program at McMaster University. Originally from the west coast Briana received her BFA from the Alberta Collage of Art and Design and her MFA from the University of Alberta. Her primary practice is in printmaking\, sculpture and installation; creating works that reflect an intersection between perception\, experience\, and social ideologies taken from her own cultural practices\, up-bringing and daily experiences. Her works have been exhibited in Canada\, U.S and Europe. Her prints are in the collections of the Alberta Foundations of the Arts\, Southern Graphics Print Council\, and University of Alberta. \n 
URL:https://albertaprintmakers.com/event/traversing-the-line-with-no-fixed-point/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/03/Past-exhibition_Briana-Palmer.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20190301
DTEND;VALUE=DATE:20190413
DTSTAMP:20250731T221148Z
CREATED:20240424T031528Z
LAST-MODIFIED:20250731T221148Z
UID:10000110-1551398400-1555113599@albertaprintmakers.com
SUMMARY:Make or Break
DESCRIPTION:About the Exhibition\nDeep Time Laid Bare – exhibition essay by Matthew R. Hills \nI write this text from the west coast of Newfoundland\, properly known as Ktaqmkuk\, traditional unceded Mi’kmaw territory. Jon Green is from and of Newfoundland. He is a treasured son of this glorious island\, departed to the main with the oft-murmured hope that he will one day be compelled to return. \nWestern Newfoundland\, Gros Morne in particular\, is a designated UNESCO World Heritage site. The Long Range Mountains on the west coast of Newfoundland offer rare examples of the process of continental drift\, where deep ocean crust and the rock strata of the earth’s mantle both lie exposed on the surface. Deep time laid bare. Being in the presence of this geologic phenomenon underscores that the earth is ancient. Almost unfathomably so. 18th-century geologist James Hutton developed the concept of “deep time” to counter the commonly held notion that the Earth was 6\,000 years old and not the approximately 4.5 billion years\, that he estimated. Through this geologic lens\, human’s time on earth seems momentary. In spite of being a relative blip\, we have entered the epoch of the Anthropocene\, registering human’s catastrophic affect on global ecosystems. A bleak reality dawning with consequences for all. \nMountains are constants in the series of mixed-media prints featured in Make or Break. Green combines personal documentation of\n“wilderness” with appropriated and recovered images from historical travelogues and wilderness survival guides. These natural monoliths are interweaved with provisional man-made structures or supports. Dovetail cabins\, lean-to shelters\, hoarding\, and half-constructed walls are fleetingly insubstantial containers and supports for the jagged peaks carved over many millennia. \nWith the sketchy incomplete rendering of these structures\, Green imbues the prints with a generative ambiguity. Are these man-made incursions into mountain environments failed projects? Ambitious beginnings? Are they meant to support and preserve? Or are they fool-hardy attempts to contain and conquer? There provisional and insubstantial nature in the face of the overriding enduring mountainscape is the only clarity we receive. \nIn sourcing image from historical exploration documents and 18th–century wilderness survival guides\, Green actively effaces colonial narratives of conquering and possessing nature. Camping is central to Green’s larger practice\, and here\, through these provisional structures\, serves as urging that our efforts to live on this planet need to be light and are inherently temporary. \nIn opposition to Green’s source material\, humans are not directly depicted in these prints\, a shift that effectively privileges the natural over a man-centered understanding of our world. Beyond providing speculative platforms for divining a new relationship to the natural world\, Green’s prints carve out a future possible path in which the environment is understood as primary and existence within it is conditionally responsive. A sketchy blueprint that doesn’t ignore history\, the failings\, and misapprehensions that have propagated so much destruction\, but instead reclaims and recasts what is of use in the past towards greater potential and a better understanding of our relative place in deep time. We may yet find our way. \nAbout the Artist\nJonathan S. Green is of Mi’kmaq and Inuit\, and Settler heritage from Labrador City\, Newfoundland and Labrador. Green earned an MFA in Printmaking from the University of Alberta\, and a BFA from Memorial University of Newfoundland. He has been a recipient of grants from the Canada Council\, the Alberta Foundation for the Arts\, and the Edmonton Arts Council. Green has been an artist in residence at the University of Alaska Anchorage\, SNAP Printshop (Edmonton\, Alberta)\, and St. Michael’s Printshop (St. John’s\, Newfoundland). He currently resides in Anchorage\, Alaska. \n 
URL:https://albertaprintmakers.com/event/make-or-break/
CATEGORIES:Exhibition Past,Past
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20190117
DTEND;VALUE=DATE:20190301
DTSTAMP:20240424T041225Z
CREATED:20240424T041225Z
LAST-MODIFIED:20240424T041225Z
UID:10000116-1547683200-1551398399@albertaprintmakers.com
SUMMARY:GLUMPS
DESCRIPTION:About the Exhibition \n“Within my work I employ clown-based imagery in order to create conversations around ideas of persona and social\nmasks. My work explores the self-regulating relationship between the unconscious mind and the social mask created by\nit\, the residue left behind\, and the construction of the new mask. I adopt this clown imagery in order to symbolize these\nsocial masks and communicate these theories within my practice. Through working with representations of clowns\, I am\ncontinually drawn to the use of deep\, dark\, black inks\, and cream paper. The combination creates an aged aura for the\nwork\, as well as pushes the visual contrast of the created imagery.” \nAbout the Artist \nMitchell Luken was born and raised in the southern suburbs of Calgary Alberta\, and recently completed his Bachelors of Fine Arts at the Alberta College of Art + Design. His main conceptual focus has be around personal identity and social masks within modern society. Primarily Mitchell works with copper etching process’ to obtain dark tonal variety with fine line work\, while incorporating an unpleasant or crude aura surrounding it.
URL:https://albertaprintmakers.com/event/glumps/
LOCATION:Burnt Toast Studio\, 215 36 Ave NE Bay 5\, Calgary\, Alberta\, T2E 2L4\, Canada
CATEGORIES:Other Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2024/04/glumps_mitchel-luken.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20190117
DTEND;VALUE=DATE:20190301
DTSTAMP:20240424T040410Z
CREATED:20240424T040410Z
LAST-MODIFIED:20240424T040410Z
UID:10000115-1547683200-1551398399@albertaprintmakers.com
SUMMARY:All the Way Back
DESCRIPTION:About the Artist \nShelby Wolfe-Goulet is a recent graduate of the Print Media program at the Alberta College of Art + Design. Reflecting on notions of memory and identity\, her work unpacks complex family narratives and histories that are shaped by intergenerational knowledge.
URL:https://albertaprintmakers.com/event/all-the-way-back/
LOCATION:Burnt Toast Studio\, 215 36 Ave NE Bay 5\, Calgary\, Alberta\, T2E 2L4\, Canada
CATEGORIES:Other Exhibition Past,Past
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20190112
DTEND;VALUE=DATE:20190223
DTSTAMP:20250802T161213Z
CREATED:20250802T161213Z
LAST-MODIFIED:20250802T161213Z
UID:10000285-1547251200-1550879999@albertaprintmakers.com
SUMMARY:Obscura
DESCRIPTION:About the Exhibition\nClarity through duplicity: On Obscura – exhibition essay by Daniel Harvey \nLet me be blunt: the work in Angela Snieder’s current show\, Obscura\, lies to us. It lies deliberately\, fully aware of its willful duplicity\, while wearing a disingenuous “Who me?” smile. Her photographic prints and sculptural installations alike conspire to draw the viewer in and tell them a story\, one that at first appears indexical and truthful\, but which on deeper inspection reveals itself to be nothing more than a tissue of lies (literally tissue\, in the case of her most recent camera obscura projection). And in this untruth lies the truth of the show’s critique of mimesis\, of the idea that we can uncritically believe the evidence of our eyes\, and its blurring of the distinction between mimeses and anti-mimesis as it plays with the constructed nature of art in general\, and particularly the (presumed) truthfulness of photographic representation.  \nSnieder completed a BFA at York in 2013\, before moving to Edmonton\, AB for her MFA in printmaking (2017). Her thesis show\, which this draws upon and develops\, comprised a series of photopolymer Chine-Colle prints of diorama sculptures\, large-scale digital prints pasted to the gallery wall\, and a camera obscura room with three boxes projecting still images onto the walls. The sculptural elements of the obscurae work through a double inversion: first\, the dioramas inside were built upside down\, so that the images appear right side up when projected on the gallery wall. Second\, where a traditional obscura functioned by introducing an exterior image into an interior space\, in these the interior space of the diorama box inverts into the outside world. Each of the works\, but most strikingly the projected images\, appear almost as windows inviting the viewer to enter otherworldly landscapes. The works play with the idea of natural space\, presenting imagery that appear at once cavernous and claustrophobic\, natural and constructed\, interior and exterior; the images resemble mineshafts\, waterfalls\, barren snowscapes\, mountainsides\, seascapes\, and other spaces with potentially sublime and anxiety-producing affects. There is something uncanny about them\, stemming from the trickery of scale\, so that the images appear to be of a macro\, almost geological scale\, while in fact representing the micro spaces of the diorama boxes. This current iteration of the show extends the uncanny effect by adding elements of movement and sound to the camera obscura piece\, mixing the appearance of video with still images of the ghostly dioramas.  \nConsider\, as an example\, the “Storm” image from this iteration of Obscura. The 4’ by 9’ image appears to show us a vast\, snow-covered waste\, or a cave snaked by tendrils of steam or mist\, or perhaps a smoke and ash filled landscape(of a kind that has become increasingly familiar in the last few years of rampant forest fires). Both fore- and background are indistinct\, the former obscured by shadows resulting from the light entering from either side\, the latter receding into a hazy blackness blurred by fog\, smoke\, or dust. The space feels capacious and naturally occurring\, until the light draws your eye\, and you notice the regularity of its entry points\, the corrugated layers of the wells\, and suddenly the scale tilts as nature evacuates the scene\, and the constructed nature if the space becomes impossible not to recognize.  \nSo. Angela Snieder may not be a liar\, but her work lies. And far from being a weakness\, Obscura’s aesthetic duplicity provides\, for me\, its essential pleasure as art\, and its interest as a cultural artifact of a period in which humans have become a geological force and the very concept of nature as something unaltered or unconstructed by humans seems increasingly naive. This problem –our relationship with\, and impacts upon the environment that surround us– stands as perhaps the most pressing issue we as a species have ever faced\, and while Snieder’s work certainly makes no claims to solve that problem (and really\, what art could?)\, in its deception and its toying with the categories of nature and culture\, of semblance and reality\, it invites us to consider the ways we understand their interrelations\, and our own experience of them. Obscura’s lies seem to me to follow in pattern of deception perhaps best described by Mark Twain in his “On the Decay of the Art of Lying\,” where he enjoins us “to train ourselves to lie thoughtfully…to lie with a good object\, and not an evil one…to lie gracefully and graciously…to lie firmly\, frankly\, squarely\, with head erect…..” Its deceptions are thoughtful ones\, gracefully done\, and in the end\, truthful ones. \nAbout the Artist\nAngela Snieder is an artist and educator living in Edmonton\, Alberta. She received her BFA from York University in Toronto\, Ontario and has recently completed her Masters of Fine Arts in Printmaking at the University of Alberta. She has exhibited her work nationally and internationally\, and has taught both in the University and in the wider community. Her art practice is based primarily in photography methods and photo-based printmaking\, and explores themes of land and place and the relationships between physical and psychological spaces. 
URL:https://albertaprintmakers.com/event/obscura/
CATEGORIES:Exhibition Past,Past
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20181019
DTEND;VALUE=DATE:20181201
DTSTAMP:20250801T210031Z
CREATED:20250801T210031Z
LAST-MODIFIED:20250801T210031Z
UID:10000284-1539907200-1543622399@albertaprintmakers.com
SUMMARY:Fiercely Open
DESCRIPTION:About the Exhibition \nFiercely Open – exhibition essay by Shaun Crawford \nThe first word that comes to mind upon viewing John Graham’s series\, Fiercely Open is “vulnerability”. His pieces contain such a potent vulnerability that simply viewing them is a vulnerable experience for the audience\, A closer look at the pieces reveal a common theme – the occurrence of relationships in the content and the collages. A character with a tree. A pair of pagan-like figures engaging one another. And in these relationships\, and in these prints\, there is a longing for something. Connection. Discovery. Truth. Sometimes sought after playfully\, and sometimes just yearned for in something like silence. And the fulfillment of that longing is available through the act of openness. And the opening of one’s self is a sensation that lives at the very core of vulnerability. Where most things worth having are found. And that is when it becomes clear that John Graham’s work is indeed printmaking poetry. And that his show could bare no fitter title than Fiercely Open.  \nJohn Graham describes himself as an “ever-diversifying” artist\, and rightly so. His practice ranges from printmaking and painting to installation works and experimental independent films. Graham began his professional career in the world of architecture before transitioning into creative visual art. He matched his Bachelor of Environmental Studies and Master of Architecture from the University of Manitoba with a Bachelor of Fine Art from the University of Oregon. And since that shift into visual art\, Graham has compiled a body of work that includes 7 short experimental films\, screened at over 120 international film festivals and group\, duo\, and solo shows exhibited around the world and too abundant to list. His work can be found in several public and private collections across Canada and the U.S. and he currently teaches Printmaking & Digital Media at the University of Saskatchewan.  \nLook too quickly at the pieces contained in Fiercely Open and it may merely recall imagery from the first season of True Detective\, or serve as a reminder that humans are actually just a different species of animal. But as much as it seems like the human figures are wearing masks – that is actually humanity with the masks removed. Symbolic characters pulled from dreamscapes and mythology. For even upon a short viewing it is clear that John Graham’s work is not of this world. It is conjured by the imagination or rescued from the recess of the subconscious\, a realm so deep and convoluted that Jungians have been the only group brave enough to explore there since early humankind first pressed their palms to stone. Such bravery is required in the viewer. To accept the call\, To open themselves to the underbelly of the psyche\, a place that cannot help but be ruled by truth. And once that threshold is crossed\, perhaps there is nothing to fear at all. Some of these figures almost look inviting\, like a couple of people that would be a pleasure to spend time with – regardless of their animal heads. Because despite superficial first impressions\, and the hidden depths form which they come\, this is a body of work that is so innately human.  \nIn his Artist Statement\, Graham shares his hope\, “that visitors will not try to deconstruct these visions with dismissive rationalizations.” I sincerely hope that this essay has not crossed that line. Not undermined the invitation to imagine. He explains that\, “The experience of this work is not intended to appease the conscious mind but to challenge it.” And there is certainly no solace here. At least none that is easily found. It is an open offer to willingly explore a different world. Not a new world\, but a hidden one. The one we carry deep within\, and within\, and within. A realm where humankind once wandered more freely\, where interpretations were attempted to account for features of this world such as the existence of the wolf or the creation of the sun\, and where we can still contemplate if we choose. In the end\, Graham’s work is a challenge to make one of the most valuable discoveries that our experiences have to offer. What Graham very aptly identifies as\, “the authentic self.”  \nAbout the Artist \nJohn Graham is a multidisciplinary artist based in Saskatoon\, Canada where he teaches Printmaking & Digital Media at the University of Saskatchewan. John started his professional creative life by studying architecture and working as an architect. He later shifted his artistic focus to study and create visual art in multiple media. His ever diversifying art practice includes print media\, artist’s books\, drawing\, painting\, installations\, and independent filmmaking. His visual art has been widely exhibited in North America\, Asia and Europe. His 7 short experimental films have been screened at over 120 international film festivals\, gallery venues and award ceremonies in 26 countries. John has participated in artist residencies worldwide and has been the recipient of multiple awards\, grants\, fellowships and prizes in both visual art and film. His artwork has been acquired by numerous public and private art collections. This includes the art collections of the Art Gallery of Ontario\, Canada Council Art Bank\, Loto-Quebec Corporation\, National Bank of Canada\, National Library of Canada\, and National Library of Quebec. 
URL:https://albertaprintmakers.com/event/fiercely-open/
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/06_Fiercely_Open.jpeg
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