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BEGIN:VEVENT
DTSTART;VALUE=DATE:20120425
DTEND;VALUE=DATE:20120603
DTSTAMP:20250801T160642Z
CREATED:20250731T222935Z
LAST-MODIFIED:20250801T160642Z
UID:10000258-1335312000-1338681599@albertaprintmakers.com
SUMMARY:Transmutation of Being
DESCRIPTION:About the Exhibition\nMariana Moranduzzo-Static Processist – exhibition essay by Mario Trono \nMany artists allege a philosophical status for the meanings of their works. It‘s easy to do in artist statements\, and you can’t blame artists for trying. After all\,good work that is also compellingly theorized by its creator remains the ne plus ultra of the more stellar exhibitions. Since contemporary modes of art criticism long ago eschewed affect in favour of ontology\, and since the reports ofTheory’s demise are not so much greatly exaggerated as they are a kind of desperate\, wishful thinking\, we will continue to see some artists’ statements clogged by abstruse language and abortive argument\, tacked onto work that bears few traces of the claims made for it. \nYou will see precisely the opposite of this state of affairs in a show by visiting Portuguese artist Mariana Moranduzzo entitled Transmutation of Being. She offers an artist’s statement that I hope most viewers read after seeing (as I did) her etchings\, woodcuts\, and drawings on paper. The statement\, read after\, will most likely evince thinking congruent with your own. \nPresented many times in the work itself is the unmistakable contour of an object most figuratively akin to rock\, that most blunt symbol of materiality (and\, to the old existentialists\, of the burdens of consciousness). In a few of her counterpoint works\, the shape figures less prominently in what feel like desultory responses to those other clearer shapes\, a response that seems a type of thought. If architecture is frozen music\, then the abstractions of art are static thought. It feels to me like Moranduzzo‘s images\, collectively\, are thinking.  \nAnd they got me thinking. The rock-like object appears to float at times\, something that only suggests an experiential unlikelihood if one forgets physics. The earth itself is a weightless rock in space. But it has mass.The more mass (concentrated or otherwise) a body in space possesses\, the more gravity it has\, and as physics now tells us\, time itself will slow down near large celestial bodies. Rocks in space exist not in but are the very essence of the universe’s being.  \nBut as we all know\, paper covers rock; I wasn’t looking at rocks when I beheld these images but at paper. And so are/will you inside the exhibition space\, and that fact brings human perception into the equation that Einstein worked so hard to create in order to explain existence in space. Art\, more than other human creations\, needs to account for its own being\, especially complex art that ever sits-because of its complexity-at a cultural remove. The savviest art accounts for itself by drawing your being into a consideration of its being. This occurred to me as I beheld Moranduzzo’s “Earth Memory”wherein the rock-like object reminds one of a human skull. Gazing out of one’s skull is\, by its very nature\, a contemplative act\,and the contemplator is always deeply implicated in the contemplated. To perceive a rock or a piece of art when both you and what you look at exist together-in space and time inside never ending processes that govern existence-well\, that is itself a process. \nMoranduzzo’s work seems to suggest this\, or at the very least gets it. It’s like her images limn the contours and outlines of process ​​philosophy which holds that something we might call the Real is best understood not in terms of things but of processes. When you gaze at art\, you are in process with it\, inside the larger fold of gallery space and gallery hours\, inside the still larger phenomena of universal space and time. \nIn this sense\, Moranduzzo’s work is the real deal. Ironically\, she is a process-ist expressing herself in what is only ostensibly a static medium. Nothing is static. Not even the typographically set sequences of her and any other artist’s statement. After you’ve read my words\, and hers\, both she and I-and then you too-will move towards new and different meanings attributed to this art and what will soon become our earlier thoughts. In an unending process of meaning attribution. All our minds are one and the same as those rock-like objects-that is\, we are evidence of a coalescing in space and time of some… thing.
URL:https://albertaprintmakers.com/event/transmutation-of-being/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/09_MarianaM.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20120405
DTEND;VALUE=DATE:20120429
DTSTAMP:20250730T164922Z
CREATED:20250724T164328Z
LAST-MODIFIED:20250730T164922Z
UID:10000238-1333584000-1335657599@albertaprintmakers.com
SUMMARY:Sequences
DESCRIPTION:About the Exhibition\nA/P is organizing\, Sequences\, 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*artworks are not required to be available for sale to participate \nArtists included in the exhibition: \nRosemary Brown\, Maria Doering\, Daniel Dunbar\, Irén Gibson\, Eveline Kolijn\, Michael Leeb\, Keri MacLeod\, Sara Norquay\, Bobbie Olson\, Carrie Phillips-Kieser\, Leya Russel\, Evan Smibert\, Heather Stump\, Catherine Tam\, Christina Wightman.
URL:https://albertaprintmakers.com/event/sequences/
LOCATION:Alberta
CATEGORIES:Other Exhibition Past,Past
ATTACH;FMTTYPE=image/png:https://albertaprintmakers.com/wp-content/uploads/2024/01/cropped-Logo-AP-NoBG.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20120229
DTEND;VALUE=DATE:20120415
DTSTAMP:20250731T222137Z
CREATED:20250731T222137Z
LAST-MODIFIED:20250731T222137Z
UID:10000257-1330473600-1334447999@albertaprintmakers.com
SUMMARY:Hybrid Figures
DESCRIPTION:About the Exhibition\nYuji Hiratsuka: Hybrid Figures – exhibition essay by Carrie Phillips-Kieser \n“Living only for the moment\, turning our full attention to the pleasures of the moon\, sun\, the cherry blossoms and the maple leaves\, singing songs\, drinking wine\, and diverting ourselves just in floating caring not a whit for the pauperism staring us in the face\, refusing to be disheartened like a gourd floating along with the floating world” – Asai Ryoi\, Tales of the Floating World. \nThis passage refers to the floating world of Ukiyo-e prints during the Edo era of the 17th century in Japan\, but it could just as easily be referring to the celebration of life depicted in Yuji Hiratsuka’s current exhibition. His etchings are of figures caught in full bloom of bleeding rose-reds\, indigo\, and rich lacquer black\, they are filled with intricate patterns and designs\, playful textures and layers; they awaken our senses and call our attention to heightened emotional tensions through their dramatic articulated gestures. The over articulated gestures of the figures are like actors arranged in synchronized poses of dance\, or moments frozen in contemplation and pleasure. \nUndeniably echoing the Barque exaggerations of past Japanese prints depicting actors from the Kabuki theatre\, particularly those of the artist Sharaku (fl. 1794-5) whose wood block prints depict contemporary actors in character conveying a sense of drama by distortion. Hiratsuka’s figures seem to announce or celebrate particular performances\, or portray emotions of the heart and body but with a contemporary update and twist. His actors are also spicy and taunt with tensions of desire and temptations. Set within luscious metaphorical landscapes\, forbidden ripe fruit is offered\, presented and indulged upon\, venus fly traps and pitcher plants mirror in the participation of the carnivorous consumption and one can not help but to feel caught up in the indulgence and even perhaps excesses of life. They fill tightly cropped spaces\, adding to the   heightened intensity of their depictions of human conditions. \nThere is also a bridging that happens in his prints; a bridge between the east and the west where traditions of the eastern past do not over shadow them being firmly rooted in Hiratsuka’s western reflections and surroundings. Hiratsuka’s use of contemporary western dress: the vests\, short flirting skirts and clinging dresses articulate current fashions of today and speak of a global merging of cultures. \nOverall the metaphors of deeper meaning\, there is a sense of humour and lightheartedness that abounds. These are happy times\, playful times\, and life is good\, even if it is seeped in extravagance\, and they beacon for us to take a moment to immerse ourselves in life’s plenty\, while we can. \nAbout the Artist\nAward-winning Yuji Hiratsuka is a professor of art at Oregon State University. He is widely exhibited through out the world and is in multiple collections\, including The British Museum in London and Tokyo Central Museum in Japan. This is his first exhibition in Calgary\, Alberta.
URL:https://albertaprintmakers.com/event/hybrid-figures/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/08_YujiHiratsuka.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20120111
DTEND;VALUE=DATE:20120219
DTSTAMP:20250731T221604Z
CREATED:20250731T220507Z
LAST-MODIFIED:20250731T221604Z
UID:10000256-1326240000-1329609599@albertaprintmakers.com
SUMMARY:Between Vessels
DESCRIPTION:About the Exhibition\nJill Ho-You – exhibition essay by Jaron James Whittingham \n“The physical body retains traces of memory at the tissue\, cellular and molecular levels. My work draws insights from these visceral observations and attempts to express how our identities are linked to the often mysterious complexity of our bodies.” \nAs each cell of the individual is unique in its fleeting way\, each of Ho-You’s drawings conveys a unique and undeniable mystery. From the vague renderings of organs and microscopic fauna\, to the striking Rorschach blots\, the work alludes to a deeper meaning. Much like a scar that can neither confirm\, nor deny violence\, Ho-You’s work relies on the viewer to fill in the gaps. The conundrum of the physical memory is that it is both concrete and fluid\, and this is captured in the work through a dynamic range of mark making and media. \nAt times both abstract and technical\, Ho-You’s body of work asks a straight forward\, yet unanswerable question: “In what ways are personal memory\, emotion and cognition expressed through the physicality of the body?” \nThough science can dissect your body and infer elements of your life and behavior based on a near infinite number of factors\, a human being’s thoughts\, emotions and memories require computational power and storage space that eclipses the modern supercomputer. We can examine the heart and lungs and determine a life of cigarette smoking\, but we may never know why this young person picked up such a destructive habit. Was the habit inherited from a family member\, or was the habit picked up to impress a member of the opposite sex? \nThe physicality of the body is expressed in many ways\, and Ho-You has captured her own physicality in her work. Does the delicate mark making reflect a fragile soul? Does the stark use of negative space reflect a longing for companionship\, or perhaps a desire for solitude? Do the monochrome prints reflect an artist that is experimenting with the minimal\, or rejecting the complexity of a full palette of colour? \nJill Ho-You’s work deals with the duality of the physical and cerebral. This duality is mirrored directly by art it’s self\, both in the tactile tradition of art making and it’s ever evolving interpretation. Without interpretation\, art becomes scenery\, just as without memory or emotion\, the human body becomes furniture. Without physicality\, art is an idea\, and without the body\, the human being is a memory. \nThrough these questions\, Jill Ho-You has been able to take subtle works of two dimensional art\, and turn them in to a fully dimensional body of work. Simple and aesthetically pleasing in casual view\, and increasingly complex with further inspection.  \nAExploring transcendent themes of psychology and physicality of the body and mind\, Jill Ho-You presents her most recent body of works “Viscid” and “Empire”. Currently working on a MFA in print making from the University of Alberta\, the dynamic mixed media artist brings her work to the Alberta Printmakers Gallery. \nHo-You has shown her work worldwide\, and returns to Calgary for her first solo show for the Alberta Printmakers Society.  \n  \nAbout the Artist\nExploring transcendent themes of psychology and physicality of the body and mind\, Jill Ho-You presents her most recent body of works “Viscid” and “Empire”. Currently working on a MFA in print making from the University of Alberta\, the dynamic mixed media artist brings her work to the Alberta Printmakers Gallery. Ho-You has shown her work worldwide\, and returns to Calgary for her first solo show for the Alberta Printmakers Society.  \n 
URL:https://albertaprintmakers.com/event/between-vessels/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/07_JillHo-You.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20111019
DTEND;VALUE=DATE:20111112
DTSTAMP:20250801T165149Z
CREATED:20250801T165149Z
LAST-MODIFIED:20250801T165149Z
UID:10000267-1318982400-1321055999@albertaprintmakers.com
SUMMARY:I am the one\, Orgasmatron
DESCRIPTION:About the Exhibition\nJacinthe Loranger: I am the one\, Orgasmatron – exhibition essay by Stacey Watson \nJacinthe Loranger’s work may be psychedelic but it is also firmly grounded in the labours of putting together a silkscreen print. Her artistic practice has taken her down the rabbit- hole; viewers can follow her trail through investigations into installation\, performance\, photography and collage. However\, there is always the print. Popping up again and again\, there they are: finely crafted serigraphs. \nEvery piece Jacinthe completes is like the crescendo. There are no dull moments; collisions abound. Hers is a floating world of absurd cartoons groping grotesque props to a soundtrack of heavy metal. But for all this manic energy\, she writes with balanced clarity about her work. She says\, ” In opposition to the banality of everyday life\, my work offers a luminous\, unhinged alternative world in which every excess is a blissful celebration” (artist statement Loranger 2011). Based in Montreal\, Jacinthe has travelled to present her work in many locations and incarnations. This time in Calgary she will exhibit / am the one\, Orgasmatron at the Artist Proof Gallery. In this work the viewer will experience the blissful celebration going terribly awry when violence breaks out on a mythic quest. \nI am the one\, Orgasmatron presents a series of action-packed collages. Each one is like a landscape from an eighties computer game\, complete with a challenge\, ominous signs and odd characters. The title refers to a song by Motorhead\, one that lyrically rebels against organized religion and politics. Jacinthe’s work plays not so much upon the themes of protest but upon the culture of heavy metal\, the goth good times of basement-bedroom posters\, head-banging concerts and ripped t-shirts. There is the obligatory skull and candle\, the Ouija board\, the knight and sword; it’s all a pretty fun party. The action is definitely playful\, which is a natural extension from Jacinthe’s previous work role-playing in performance with props and prints. \nThe scenes are built up using multiple layers of printed shapes driven into formation by hand-cut collage work. The resulting flatness of the colours and choppy-ness of the forms appeals to the naivety of the pieces. It is all at the service of underlying sense of humour; these are hilarious works. The figures and shapes almost ask to be played with\, like on a felt-board in an elementary school\, they are ready to be moved around; the hand over the Ouija board\, the swinging mace. \nHowever\, Jacinthe is not fumbling around. These are skillful demonstrations of silkscreen. Hot colours are laid down with nonchalance and patterns are scattered with ease and decisiveness. It is really Jacinthe’s mastery over silkscreen as a process that creates the framework supporting all of her work. There is confidence underlying the experimentation and skillfulness directing the play. Therefore the viewer never gets lost while following on the heels of this artist through all her wild wanderings.
URL:https://albertaprintmakers.com/event/i-am-the-one-orgasmatron/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/01_Jacinthe.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20110920
DTEND;VALUE=DATE:20111223
DTSTAMP:20250730T164639Z
CREATED:20250730T000247Z
LAST-MODIFIED:20250730T164639Z
UID:10000249-1316476800-1324598399@albertaprintmakers.com
SUMMARY:2011 Not-So-Mini Print Exhibition and Exchange
DESCRIPTION:About the Exhibition\nArtists can submit an edition of ten 15” x 11” prints for exhibition and in exchange each participant will receive 8 prints created by other artists\, and A/P will retain 2 works from each edition for sale in our studio and gallery. This is an exhibition available to both A/P members and other non-member print artists.  \n  \nArtists included in the exhibition: \nNicole Bracey\, Karen Cassidy\, Nicole Edmond\, Irén Gibson\, Heather Huston\, Yuki Kamata\, Carrie Phillips-Kieser\, Agnieszka Koziarz\, Sally Mayre\, Larissa McLean\, Kaitlin Roth\, Elizabeth Rose\, Leya Russell\, Kelsey Stephenson\, Emmelia Taylor\, Kale Vandenbroek\, Rosanne Visser\, Tracy Wormsbecker \n 
URL:https://albertaprintmakers.com/event/2011-not-so-mini-print-exhibition-and-exchange/
LOCATION:Alberta
CATEGORIES:Other Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/Scan-36.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20110907
DTEND;VALUE=DATE:20111016
DTSTAMP:20250801T164518Z
CREATED:20250801T164518Z
LAST-MODIFIED:20250801T164518Z
UID:10000266-1315353600-1318723199@albertaprintmakers.com
SUMMARY:Origin Returning
DESCRIPTION:About the Exhibition\nReflective Movement in Kyla Fischer’s Origin Returning – exhibition essay by Sarah Nordean \nLiquid drips and swirls\, and repetitive\, organic shapes and lines suggest nature and landscapes in movement in Kyla Fischer’s exhibit Origin Returning. Viewers may find themselves oscillating between viewing the works as non-objective explorations of media and technique\, and also as poignant\, otherworldly landscapes. An upward thrust of a mountain\, an icy peak of snow\, a turbulent swirl of water\, or an ominous churning cloud emerge from the pools and splatters of Fischer’s abstract prints. \nFischer’s process is a comfortable tension between chaos and order\, marrying painterly dripping and splattering with more structured printing techniques. The compositions have been carefully considered\, and each print is comprised of a collage of 4 – 8 photo etching or photolithography plates. Paper is used as a medium in itself as Fischer prints on both sides of thin Japanese parchment to create a distinct veiled effect. \nIt is a tidal push/pull between these dichotomies–between chaos and order\, the non-objective and the objective\, and between detailed marks and conceptually expansive space­–that makes Fischer’s work so engaging. Her prints are comfortable being many things at once\, and invite prolonged contemplation from viewers. \nIn Origin\, repeating black drips and splotches appear to move outward from the centre of the image. A pale blue oblong shape seems to be the source of the emanating movement\, and the overall effect is of something bursting\, captured in space. The print is comprised of two identical adjacent images\, with one flipped\, creating a kind of reflection. Indeed a motif of reflection and oscillating movement runs throughout the exhibition\, visually as well as conceptually\, beginning with the title of the show\, Origin Returning\, and underscored by what Fischer indicates is the inspiration for her work–an 11th century\, reversible verse Chinese poem. \nSustaining the notion of reflection\, Fischer‘s ambiguous landscapes lend themselves to be open to viewers’ contemplations and interpretations. Psychoanalyst and theorist Jeanne Randolph uses the term amenable to describe this openness of artwork\, stating that a work’s ambiguous elements allow leeway for the viewer’s impulse to play with the illusion that has been created. Fischer’s work\, like a palindrome\, moves in two directions – towards the viewer and then back again as the viewer contemplates. \nA rhythm is generated in Fisher’s exhibition through repeated imagery and palindromic motion. From the movement of nature and landscape within the images\, to the reflective interactions viewers have with the work\, the exhibition pulsates with a subtle but constant peaceful energy.
URL:https://albertaprintmakers.com/event/origin-returning/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/02_KylaF.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20110615
DTEND;VALUE=DATE:20110731
DTSTAMP:20250801T163521Z
CREATED:20250801T163521Z
LAST-MODIFIED:20250801T163521Z
UID:10000265-1308096000-1312070399@albertaprintmakers.com
SUMMARY:Variations on a Theme
DESCRIPTION:About the Exhibition\nLisette Thibeault – exhibition essay by Eveline Kolijn \nThe tapestries of swirling organic shapes created by Quebec artist Lisette Thibeault exhaust a vast range of possibilities that contemporary printmaking has to offer. Lisette is attracted to small and hidden organisms from miniature environments. She was inspired by botany for her most recent series of works\, which are on display at the Artist Proof Gallery. \nIn the collections from the Herbarium of Quebec\, she found a particular interesting specimen of lichen. She deconstructed this lichen through capturing a singular\, material strand from the specimen into an ephemeral\, digital image. Subsequently\, she proceeded to rebuild it in Photoshop into multiple different configurations. Guided by the principle of multiples in printmaking\, she cleverly mimicked the fractal structures found in nature where self-similarity\, split into multiple smaller copies of itself\, creates the most intricate patterns. To further explore and saturate possible mutations of her image\, Lisette uses both the positive and negative image of the object and creates mirror-compositions. The ephemeral gets transformed back into the material through the process of photo-etching on Plexiglas plates. Through the use of Chine-colle\, the artist added another layer of multiples by tiling and reflecting the same image several times in one print. \nFormal mathematical symmetries and organic shapes seem to compete with each other for attention. Are these living ​​organisms\, catalogued in a natural history compendium\, or scientific\, schematic\, representations? A symmetrical\, coiled\, skein of strands conveys the impression of fleshy veins knotted together. This impression is further aroused through the use of red and blue colors reminiscent of medical charts representing the schematic flow of blood through veins and arteries. Other compositions are more playful and delicate. Repeated wheel-like structures with the fronds of the lichen sticking out like spokes are barely touching each other like lacy gears\, suggesting the transfer of motion. A slower and stately movement is expressed in a pair of positive and negative prints where the lichen-strands are coiled in what seems to be a disjointed Mobius strip. It is remarkable how the artist has created this biomorphic universe out of a single strand. She engages the imagination of the viewer to recombine and continue the patterns\, stimulating a fantasy of poetic mutation.    \nAbout the Artist\nLisette Thibeault received an honorary mention for this body work at the 6111 International Contemporary Printmaking Biennial of Three Rivers\, 2009. The catalogue quotes that “Her masterly work is composed of twisting lines that create a form evoking nerve fibres and human tissues. She creates small format works of great strength.”  She is currently finishing her MFA degree at the Laval University in Quebec.
URL:https://albertaprintmakers.com/event/variations-on-a-theme/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/03_Lisette.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20110420
DTEND;VALUE=DATE:20110605
DTSTAMP:20250801T162849Z
CREATED:20250801T162849Z
LAST-MODIFIED:20250801T162849Z
UID:10000264-1303257600-1307231999@albertaprintmakers.com
SUMMARY:Séripop
DESCRIPTION:Séripop – exhibition essay by Lisa Turner \nSéripop is the name under which Yannick Desranleau and Chloe Lum create screen-printed posters\, album covers\, books\, prints\, and most recently print installations. This Montreal duo has made a name for itself based primarily on their bold colours\, experimental\, graphic approach\, and pop aesthetic. \nInitially the two produced numerous screen-printed posters for their band AIDS Wolf\, and others; postering them around the cities they perform in. Over time the works were torn down\, collected\, obscured and covered by other promotions\, and the posters’ pristine appearance was transformed or destroyed by the elements. These days Séripop rarely produces posters in this vein\, and has since focused their creative energy on reinterpreting the poster and this experience. \nLa Battue\, an installation made for the gallery space draws on this history as Seripop employs screen-printed posters to cover the floor and walls of the gallery space. Prints are layered on top of each other as one would experience on the city streets – though this layering is perhaps not evident initially. A grinning face that consumes the majority of the floor space\, stares up at the viewer\, while a row of pyramids creates what looks like a crown\, hovering above it’s head on the wall. An anthropomorphic figure with the thought bubble “J’en ai rien à” meaning “I don’t give a” inhabits the wall space. \nBy presenting the urban inside the gallery\, Seripop aims to draw attention to the street poster as a topographical marker\, while commenting on the poster’s ephemeral state. As visitors attend the exhibition (and walk over the posters) the layers of prints are gradually revealed through the physical deterioration caused by this “foot traffic”. The work\, produced with standard industry poster paper\, can only withstand so much wear and tear; thus the piece is in constant state of flux as gallery-goers participate in an ongoing revision of the artwork. A camera provides daily documentation of this transformation\, culminating in the final “resolution” of the piece at exhibitions’ end. This result\, is suggested in the works’ title La Battue\, a term that is often used to describe the search for a missing person in the woods\, or a large manhunt. However the end result of the search is always uncertain\, much like the final state of the piece. \nSeen in this context\, the work may be viewed as a reinterpretation of the poster: subverting its traditional communicative function\, to act as a metaphor for change\, time\, accumulation\, and deterioration\, amongst other things. The work also draws attention to the commodity nature of works of art\, as Seripop challenges the traditional reverential presentation of “the object” within the gallery space. The poster\, taken from its everyday setting has been placed on display in the institution\, however it may ultimately suffer the same fate that it does out in the world. This metaphor raises interesting questions: Does the gallery serve to elevate the print from common advertising to fine art – breaking down the barrier between art and life – or does the institutionalization of this art form represent another kind of weather? In either case\, the resulting visual experience is rewarding\, and we as the viewers are richer for having engaged with the show.
URL:https://albertaprintmakers.com/event/seripop/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/04_Seripop.jpeg
END:VEVENT
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:20110302
DTEND;VALUE=DATE:20110410
DTSTAMP:20250801T162311Z
CREATED:20250801T162230Z
LAST-MODIFIED:20250801T162311Z
UID:10000263-1299024000-1302393599@albertaprintmakers.com
SUMMARY:hole/whole
DESCRIPTION:About the Exhibition\nhole/whole – exhibition essay by Carrie Phillips-Kieser  \nThe Pearls that long have slept\, These were tears by Naiads wept.\nSir Walter Scott in The Bridal of Triermain\, 1813 \n Learn from yon orient shell to love thy foe\,\nAnd store with pearls the wound that brings thee woe.\nPersian Poet\, Hafiz\, 1320 \nThrough the loaded iconography of the pearl\, Calgary based artist Kim Huynh’s series of lithographic prints\, hole/whole\, speaks of the interconnectivity of our personal desires of accumulation and its affects on the destruction of our environment\, within a collective culture of capitalism and globalization. \nThe pearl has a long history of being associated as an object of desire\, a symbol of luxury and opulence. This gem of the sea\, according to Pliny in the 1st century\, ranked first in value among all precious things and in fact Servilia\, the mother of Brutus wore ” the spoils of nations in an ear changed to the treasure of a shell”. In the Chinese tradition the image of the pearl symbolizes riches and pure intentions. Huynh effectively illustrates the true meaning of the word “luxury”; the lasciviousness\, the sinful\, self-indulgence\, through its image. The sheer number of pearls\, draping\, piling\, gathered\, is evocative of our own indulgence and of our desire to collect commodities at the expense of the beauty in rarity. At the same time\, the pearl/oyster\, a natural product of our oceans\, is a representation of the sea. Depicted in such numbers\, the pearl\, here\, also stands as an example of the reaping\, the depletion and ultimate destruction of its delicate balance. \nAs we follow through Huynh’s images\, the personal begins to erode from view with the slow eradication of the figure. \nThe established perceptions become less than whole. The pearl slowly becomes replaced with mechanically punched circular holes\, like ourselves as our personal actions dissolve and become blurred into the collective. The seduction of the pearl is still evident through the cut away and continues to allude to the seduction of capitalism. As cultures\, globally\, are falling victim to its seduction and “comfortable” lifestyle\, past ways of life are being dissolved. Punched holes – a visual connection to a mechanized and industrial world\, removes our personal responsibility and projects that responsibility onto the culture of capitalism itself. The removal of ourselves (the figure)\, perhaps\, pushes us further into unachievable change or responsibility. With the removal of imagery completely and the replacement of symbols of pieces from the ancient warfare game\, Xiangqi or Chinese Chess\, the work becomes didactic. These last pieces leave us to question our current state of affairs and presents us with the questions-ls it now time to take our turn in the role that has just been presented to us? \nIf the chaste and subdued beauty of the pearl can also stand as a symbol of a tear\, hole/whole cries out a message. Kim Huynh’s piece is a powerful and instructive piece that can indeed provide us with “moments of individual and collective reflection” if only we listen.
URL:https://albertaprintmakers.com/event/hole-whole/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/05_KimHuynh.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20110112T080000
DTEND;TZID=America/Edmonton:20110219T170000
DTSTAMP:20250801T175713Z
CREATED:20250801T161250Z
LAST-MODIFIED:20250801T175713Z
UID:10000262-1294819200-1298134800@albertaprintmakers.com
SUMMARY:Retreating Agassiz
DESCRIPTION:About the Exhibition \nRetreating Agassiz – exhibition essay by Romy Straathof \nIn searching for what underlies the visible\, Jeanette Johns’ series of prints Retreating Agassiz\, reveal how the unknown and unseen can give context and meaning to ones sense and experience of place. Taking the widest macro-view in both a physical framework and through the concept of time\, Johns traverses millennia\, and discovers ways to insert something of herself into a collective history of place that she asserts belongs to “all of us.” It is a collective history of a time that would not be named or marked until the recent past; nonetheless\, it is an inherited history whose relics and traces remain to impact the lives of those who take care to notice. \nThe (six) prints of Retreating Agassiz communicate through the languages of mapping\, asking to be read\, however\, it is soon realized that the information presented is at the same time recognizable through map-like symbols and obscure\, – there are no reference points. Each print is what Johns refers to as a ‘snapshot’ of time (although in this case each ‘snapshot’ encompasses time periods of 300 to 1200 years) that show the presumed movement of ancient glacial Lake Agassiz\, during its 4\,500-year existence. \nEmerging as meltwater from a monumental sheet of ice that was in some places nearly 4 km thick\, the lake at its peak\, was the largest glacial lake in North America and covered all of Manitoba\, as well as several neighbouring provinces and states. The provincial landscape in which the artist grew up\, had emerged from a series of glacial advances\, retreats and subsequent drainage of the lake. Each glacial period partially erased the wounds and formations of the previous; each of the prints in the series Retreating Agassiz attempts to separate the layers of this palimpsest. \nThe languages of printmaking allow the artist to work in layers; photo-etching\, screenprinting\, hand-drawn marks\, and application of gold leaf\, reflecting layers of geophysical process\, layers of time\, and layers of understanding. In looking for patterns that connect place\, time\, purpose and identity\, Johns’ maps become pattern\, geographical elements become forms\, and the shadows of what no longer exists is rendered in goldleaf\, as if to mark their presence as recorded\, preserved\, eternal and precious. It was not until 1879\, that Lake Agassiz was named and accepted in scientific circles as having formerly existed. But\, to the artist and fellow inhabitants of the province\, the traces of Lake Agassiz are familiar\, and the story  of the lake is a legend embedded in their inherited past. The vast movement of the lake is revealed strikingly through the six views\, animated and glistening. \nThrough observation and connecting\, Johns closes a gap between what is seen and what exists in traces and myth. By inserting the ancient lake into her work\, she decodes the familiar landscape\, and becomes documentarist of the vast history\, bringing to those of us who observe her work\, an understanding of our place and identity in this history of place. In revealing the foundations of place the artist inserts something of herself into the records of the past\, and brings the past to our present. In finding Lake Agassiz\, Johns finds context in place.
URL:https://albertaprintmakers.com/event/retreating-agassiz/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/06_JeanetteJ.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20101117
DTEND;VALUE=DATE:20101219
DTSTAMP:20250730T164704Z
CREATED:20250724T175348Z
LAST-MODIFIED:20250730T164704Z
UID:10000240-1289952000-1292716799@albertaprintmakers.com
SUMMARY:2010 Members Show and Sale
DESCRIPTION:About the Exhibition\nEach year\, the Artist Proof Gallery holds a members’ show and sale to showcase the work of Alberta print artists\, and to provide an opportunity for members of the society to exhibit and sell their prints. \n  \n\nArtists included in the exhibition: \nAlden Alfon\, Debra Ansell\, Carole Bondaroff\, Rosemary Brown\, Wayne Haglund\, Lexie Harding\, Heather Huston\, Judith Klugerman\, Eveline Kolijn\, Shinobu Mitsuhashi\, Bobbie Olson\, Anne Petrie\, Carrie Phillips-Kieser\, Leya Russel\, Evan Smibert\, Wendy Tokaryk\, Margot Van Lindenberg\, Rosanne Visser\, Anne Watson \n  \n 
URL:https://albertaprintmakers.com/event/2010-members-show-and-sale/
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:20100115
DTEND;VALUE=DATE:20100206
DTSTAMP:20250730T164720Z
CREATED:20250724T175417Z
LAST-MODIFIED:20250730T164720Z
UID:10000241-1263513600-1265414399@albertaprintmakers.com
SUMMARY:Contexture: New Directions and Intersections in Printmaking
DESCRIPTION:About the Exhibition:\nContexture: New Directions and Intersections in Printmaking is an A/P exhibition in conjunction with Art Stroll 2010\, in partnership and hosted at The Untitled Art Society main gallery space. \n  \n\nArtists included in the exhibition: \nSherri Blase\, Carole Bondaroff\, Jill Ho-You\, Heather Huston\, Eveline Kolijn\, Michael Leeb\, Carrie Phillips-Kieser\, Lisa Turner \n  \n 
URL:https://albertaprintmakers.com/event/contexture-new-directions-and-intersections-in-printmaking/
LOCATION:Alberta
CATEGORIES:Other Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/A1D1700F-D03F-46E4-BCB4-F9AEE8DF6AF7_1_201_a-e1753833259245.jpeg
ORGANIZER;CN="Alberta Printmakers":MAILTO:director@albertaprintmakers.com
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20091125
DTEND;VALUE=DATE:20091220
DTSTAMP:20250730T164732Z
CREATED:20250724T170353Z
LAST-MODIFIED:20250730T164732Z
UID:10000242-1259107200-1261267199@albertaprintmakers.com
SUMMARY:2009 Mini-Print Exhibition
DESCRIPTION:About the Exhibition\nThe Members’ Mini-Print Show and Sale will be held at the Artist Proof Gallery. We are looking for prints with a maximum size of 12″ x 12″. \nThe exhibition showcases the work of Alberta print artists\, and provides an opportunity for members of the Society to exhibit and sell their prints. The sale also functions as a fundraiser for the Alberta Printmakers’ Society\, as 50% of the proceeds from the sale of each piece goes to the gallery in support of A/P’s artistic and educational programming. \n  \nArtists included in the exhibition: \nElizabeth Allen\, Carole Bondaroff\, Meredith Chapman\, Maria Doering\, Judith Klugerman\, Christie Kirchner\, Eveline Kolijn\, Heather Huston\, Michael Leeb\, Shinobu Mitsuhashi\, Sara Norquay\, Stan Phelps\, Carrie Phillips-Kieser\, Wendy Tokaryk\, Lisa Turner\, Anne Watson\, Andie Wicherts\, Concetta Zurzolo
URL:https://albertaprintmakers.com/event/2009-mini-print-exhibition/
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:20081211
DTEND;VALUE=DATE:20081225
DTSTAMP:20250730T164618Z
CREATED:20250724T170210Z
LAST-MODIFIED:20250730T164618Z
UID:10000243-1228953600-1230163199@albertaprintmakers.com
SUMMARY:Scratch n'Bite
DESCRIPTION:2008 Mini-Print Exhibition\nScratch n’Bite\, this years Mini-Print Show and Sale\, is an open non-juried exhibition held in the Artist Proof Gallery. We are looking for prints with a maximum size of 12″ x 12″. \nThe exhibition showcases the work of Alberta print artists\, and provides an opportunity for members of the Society to exhibit and sell their prints. The sale also functions as a fundraiser for the Alberta Printmakers’ Society\, as 50% of the proceeds from the sale of each piece goes to the gallery in support of A/P’s artistic and educational programming. \n  \nArtists included in the exhibition: \nElizabeth Allen\, Carole Bondaroff\, Rosemary Brown\, Connie Carruthers\, Jessica Gowling\, Jill Ho-You\, Heather Huston\, Kim Huynh\, Megan Jackson\, Ursula Knight\, Eveline Kolijn\, Michael Leeb\, Paulette Michayluk\, Nancy Osadchuk\, Joel Qualle\, Koren Scott\, Sandia Vida\, Joan Wieser\, Kataryzna Wojdyla\, Ada Yan
URL:https://albertaprintmakers.com/event/scratch-nbite/
LOCATION:Alberta
CATEGORIES:Other Exhibition Past,Past
ATTACH;FMTTYPE=image/png:https://albertaprintmakers.com/wp-content/uploads/2024/01/cropped-Logo-AP-NoBG.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20081023
DTEND;VALUE=DATE:20081124
DTSTAMP:20250822T203605Z
CREATED:20250822T203605Z
LAST-MODIFIED:20250822T203605Z
UID:10000358-1224720000-1227484799@albertaprintmakers.com
SUMMARY:Echo
DESCRIPTION:About the Exhibition\nThis exhibition is part of an exchange between the Alberta Printmakers Society and Graphic Studio in Alkmaar\, the Netherlands.  \nExhibition Essay Written by Eveline Kolijn \nDuring medieval times in Europe\, landlords from the Low Countries started to grant privileges to settlements to stimulate the establishment of cities. These privileges were called city-rights. They fostered economic growth and led to increased political autonomy of the city. In 2004\, the City of Alkmaar in the Netherlands celebrated the fact that they received their city-rights 750 years ago. Grafisch Atelier Allmaar\, a printmaking collective\, participated in the anniversary festivities by producing a portfolio of twenty original fine- art prints\, printed in an edition of forty. \nTheir involvement began in 2003 when twenty local print media artists were invited by the Municipal Museum of Alkmaar (Stedelijk Museum Alkmaar) to make prints based on their collection. The museum’s collection reflects the history of customs\, thoughts and events throughout the city’s existence. For their inspiration\, artists selected monumental paintings by local and famous Dutch Masters\, antique tiles\, seals\, decorated gablestones\, children’s toys\, old pictures\, maquette\, pottery and old-fashioned laboratory equipment. The resulting prints reference these objects and images; they are a reflection from the past. Echo is the title of the portfolio. They were exhibited next to their chosen source in the anniversary-exhibition of the museum. Jhim Lamoree\, editor from the national newspaper Het Parool\, wrote in the forward of the exhibition catalogue\, “that the twenty diverse prints\, which have been made in response to the different objects of the museum collection\, are an echo of those objects\, which in their turn become an echo of modern printmaking. This demonstrates that a museum is not a static institution\, but can be an incubator of contemporary art.” \nThe echoes of this print portfolio have reverberated beyond the Netherlands. A year ago\, Alberta Printmakers Society approached the Grafisch Atelier Alkmaar with a proposal to organize a print-exchange. The Alkmaar printmakers agreed enthusiastically and they open the exchange with the exhibition of their anniversary portfolio\, Echo\, in Calgary. They have kindly donated this portfolio\, which now becomes part of the Alberta Printmakers Society’s archive. A juried selection of prints from Alberta Printmakers Society’s members will will be exhibited in Alkmaar in January 2009. \n  \nParticipating Alkmaar Artists: Dave Akkerman\, Jos van Amsterdam\, Pauline Bakker\, Patrick Bergsma\, Corrie Breed\, Jan Deckwitz\, Joyce Ennik\, Mels de Gooyer\, Gerben Hermanus\, Marijalic\, Madeleine Leddy\, Mans Lenards\, Mario Passamani\, Hanneke Saaltink\, Ivon Spee\, Erik Tierolf\, Tineke Tukker\, Marja Vleugel\, Cora Vries and Jaap Zomer. \n 
URL:https://albertaprintmakers.com/event/echo/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/01_Echo-e1755894743226.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20080104
DTEND;VALUE=DATE:20080205
DTSTAMP:20250822T204732Z
CREATED:20250822T204732Z
LAST-MODIFIED:20250822T204732Z
UID:10000359-1199404800-1202169599@albertaprintmakers.com
SUMMARY:Permeable
DESCRIPTION:About the Exhibition\nExhibition curated\, and Essay written\, by Kim Huynh \nIn the focus of today’s Capitalism\, where daily routines depend on time and place\, our Consumer driven environment can be quickly changed by the impact of a social political event. As some present situations\, economists are watching the USA election\, Pakistani opposition leader Benazir Bhutto ‘s assassination has disrupted the Middle East’s oil market\, while in our own backyard\, British Columbia is working out its municipal balance for the 2010 Olympic in hope for an improvement on the economy through tourism. As time and place constantly shift and events often concur with a social- political movement\, our quality of life is blurred by the needs of communities and corporations\, and no longer a focus of individualism. One of the pressures upon Canadian society is to “move along”\, “blend in” or “be a part of a larger whole”. This slogan is also drummed into our emotional and intellectual selves. Who are we\, and how do we relate to our loved ones at the end of the day? \nIn Jill Ho-You ‘s print- media\, she cleverly situates a parallel paradigm where the duality of Violence vs. Civility is played out in contemporary life. Beautiful and delicate etchings of a colony of insects are developed through stages on rice paper; then\, cut-out and carefully pinned onto the body of a supporting paper revealing various layers of the relief work. Parts of the paper have been beat up\, ripped open and pounded into the body by a forceful act\, which allow the contents of the stained newspaper to be identified. The juxtaposition of two acts questions its relationship by a same hand: a hand of caring and nurturing\, and the same hand of anger and deconstruction. How do these human qualities co-exist in the same person\, and how do they co- coincide in human interaction today\, which remains a mystery of our continuing human development. \nAnother concern of human development in this exhibition is the series of Self-Portraiture by Melanie Wilmink. Intricate layers of drawings lay on top of one another with poetic mark-makings and abstractive provocation. A process that allows intuition of plays\, work and re-work to occur within the same chance. The printmaking procedure of working with chemicals and pigments is set\, but all conditions are shifted and free of interplay to challenge the locale of the self and the parameters of the self. In the process of developing identity\, how far can we expand from the centre before we recognize it is too far from “the core”? Or\, is any point in the process a collection of self and identity? Given the fact that the locale of the self rests on an ever -changing time and place\, the process of understanding one’s identity is also not fixed. One could say that over time\, one recognizes the pattern of behavior of self and the consistency of its patterns give clues to the understanding of an identity. \nOn the contrary\, Alana Tyson ‘s focus is from outside in. The artist pursues the essence of Beauty by looking at the external social-cultural values played on an individual. The classic binary of external and internal Beauty is sometimes inter- changed due to conflicting messages in the society. The issue of Beauty has held a controversial place in the history of the West over the last two centuries\, and has become ever more complicated in Consumerism today. Tyson provides examples of how virtues of a woman were viewed and conditioned in the West through 1 constructions of Gothic architectural designs\, and etchings of women in various rituals over various times. Careful manipulation of material\, symbolism and the ancient technique of printmaking to speak about the classic issues of the past and that continue to exist today. Intricate design of dark silver boxes (like metal) and architectural arches appear handsome and serious; however\, a closer look at these containers reveals a light foamy plastic facade. The realization of the material shreds new light on the inner value and adds another layer of reading to the work. Juxtaposed with the use of the dark silver containers\, inside\, Tyson provides a contrasting material of red silk\, images of altars and various Biblical figures as examples of virtues that a woman is supposed to hold in history. \nMarigold Santos provides four pieces of print media\, which address a divergence of Private vs. Public\, Role Play at home\, and its projection into the external world. Elegant drawings consist of a young girl in animal likeness and of three -dimensional stuffed animals personify human form. In place of a child as a protagonist\, Santos’ beautiful manipulation of animal and human’s inter-change/play provides a narrative in between a fairy tale and a critique of contemporary literature. Viewers are drawn into the simple naïve suggestive element in pastel colors and are encouraged to make sense of them; however\, there is no storyline. Each panel is like an adjective; the artist is carefully operating on the syntax of meaning without giving out the story. This playfulness constructed between author and readers demonstrates another essence in child’s play. Santos posits the concern of role-play between a young girl and two cats at home\, and how they transcribe into future roles\, and how far or near the relationship between animal and human? …All of which are possible readings to these works. \nAlthough each work from these four artists provides a different issue in human values in an unstable environment\, one certainty is that none of these concerns will rest on a fixed point in the journey of human development\, since each quality of human value attaches to social-cultural symbolic significance. As members of a society\, we can’t help but hold on to each duality of human characteristics in a unique division to provide security and comfort. Each shifting point in this human development transgresses through time and place\, and the concerns in these art works reflect unsettled distinctions between order and chaos by presenting material and value continuity between these states of human transgression. \n  \nArtists: Jill Ho-You\, Marigold Santos\, Alana Tyson\, Melanie Wilmink
URL:https://albertaprintmakers.com/event/permeable/
LOCATION:Alberta
CATEGORIES:Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/08/02_Permeable-1.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20071201
DTEND;VALUE=DATE:20071231
DTSTAMP:20250726T184856Z
CREATED:20250725T051307Z
LAST-MODIFIED:20250726T184856Z
UID:10000246-1196467200-1199059199@albertaprintmakers.com
SUMMARY:2007 Mini-Print Exhibition
DESCRIPTION:About the Exhibition\nThe Members’ Mini-Print Show and Sale will be held at the Artist Proof Gallery. We are looking for prints with a maximum size of 12″ x 12″. \nThe exhibition showcases the work of Alberta print artists\, and provides an opportunity for members of the Society to exhibit and sell their prints. The sale also functions as a fundraiser for the Alberta Printmakers’ Society\, as 50% of the proceeds from the sale of each piece goes to the gallery in support of A/P’s artistic and educational programming. \n  \nArtists included in the exhibition: \nElizabeth Allen\, Alden Alfon\, Megan Armstrong\, Hannah Bennett\, Rosemary Brown\, Bill Dixon\, Lindsay Everatt\, Marnie Fallon\, Dacia Fauth\, Jill Ho-You\, Heather Huston\, Kim Huynh\, Milo Jones\, Carrie Phillips-Kieser\, Eveline Kolijn\, Setsuko Moulton\, Holly McWilliams\, Rebekah Miller\, Paulette Michayluk\, Marijke Nap\, Gary Olson\, Nancy Osadchuk\, Keith Poon\, Marcus Riedner\, Colleen Rauscher\, Jo-Ann Sheen\, Lauren Simms\, Kimberly Simpson\, Brianna Strong\, Barbara Sutherland\, Jenny Trinh\, Sandra Vida\, Ryan Wolters\, Joan Wieser\, Melanie Wilmink\, Darcy Wilson\, Ada Yan
URL:https://albertaprintmakers.com/event/2007-mini-print-exhibition/
LOCATION:Alberta
CATEGORIES:Other Exhibition Past,Past
ATTACH;FMTTYPE=image/png:https://albertaprintmakers.com/wp-content/uploads/2024/01/cropped-Logo-AP-NoBG.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20070507
DTEND;VALUE=DATE:20070609
DTSTAMP:20250724T181457Z
CREATED:20250724T175547Z
LAST-MODIFIED:20250724T181457Z
UID:10000237-1178496000-1181347199@albertaprintmakers.com
SUMMARY:The Light of Day
DESCRIPTION:About the Exhibition\nAll printmakers are familiar with the tradition of the Print Portfolio Exchange\, those collections of works that represent the best of what’s unique to the medium; a democratic sharing of visual images\, an ability to amass a wealth of original art\, and in a world full of “stuff” – a rational motive to create multiples. The resulting portfolios represent a special gift shared amongst colleagues\, lovingly crafted and showcasing diversity of media and approach.  \nThe unfortunate truth of this\, of course\, is that often\, all but the most favourite disappear into boxes that reside under beds\, in drawers and cupboards and storage shelves\, rarely again to see the light of day.  \nGuessing at this probable fate of my own contributions to portfolios over the years\, this exhibition is a selection of prints from the last dozen years\, primarily from exchanges\, with a couple extras thrown in. Sometimes themed\, sometimes not\, these prints are really a series of “one-offs” outside my regular body of work; a chance to respond to external content criteria\, to explore silly ideas\, to riff on past work or poke at friends. They represent my eclectic visual interests and love of printmaking.
URL:https://albertaprintmakers.com/event/the-light-of-day/
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:20070315
DTEND;VALUE=DATE:20070429
DTSTAMP:20250724T181510Z
CREATED:20250724T175520Z
LAST-MODIFIED:20250724T181510Z
UID:10000236-1173916800-1177804799@albertaprintmakers.com
SUMMARY:III Communication
DESCRIPTION:About the Exhibition\nOn April 21\, 2007 Artist Proof Gallery will be holding a closing reception for Mikhail Miller’Lajeunesse’s exhibition titled III Communication. The installation by this emerging artist presents a contrast between brightly silk-screened wood “speech-bubbles” and grotesque humanoid wood-cut prints on paper. The work displays the congruence and elasticity of communication that we face on a day to day basis. In conjunction with Lajeunesse’s reception\, A/P will also hold a T-Shirt Fundraiser. The trendy T’s are hand screened\, one of a kind works of art produced by Mikhail\, Lindsay Everatt and Darcy Obokata. Many thanks to Sosa Original Clothing for sponsoring the shirts and ink used for this fundraiser.  \n  \n  \n  \n 
URL:https://albertaprintmakers.com/event/iii-communication/
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:20070119
DTEND;VALUE=DATE:20070222
DTSTAMP:20250724T181650Z
CREATED:20250724T175445Z
LAST-MODIFIED:20250724T181650Z
UID:10000235-1169164800-1172102399@albertaprintmakers.com
SUMMARY:The Halloween Costume Series
DESCRIPTION:Join us for Marijke Nap’s\, The Halloween Costume Series\, this January. This exhibition marks the opening of the A/P Gallery at 2010F 11 Street SE. \n  \n  \n  \n  \n  \n  \n 
URL:https://albertaprintmakers.com/event/the-halloween-costume-series/
LOCATION:Alberta
CATEGORIES:Other Exhibition Past,Past
ATTACH;FMTTYPE=image/png:https://albertaprintmakers.com/wp-content/uploads/2024/01/cropped-Logo-AP-NoBG.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20061201
DTEND;VALUE=DATE:20061222
DTSTAMP:20250730T164251Z
CREATED:20250724T175128Z
LAST-MODIFIED:20250730T164251Z
UID:10000233-1164931200-1166745599@albertaprintmakers.com
SUMMARY:2006 Micro-Mini Print Exhibition
DESCRIPTION:About the Exhibition\nA/P is launching our fifth annual Micro-Mini Print Project. \nMembers are invited to participate in our annual fundraiser of micro-mini prints. We are looking for prints with a maximum size of 9 square inches. The work will be on view at our brand new A/P Gallery Space\, located in our new studios at 2010F 11 St SE! \n  \nArtist: Group Show\n  \n  \n  \n 
URL:https://albertaprintmakers.com/event/2006-micro-mini-print-exhibition/
LOCATION:Alberta
CATEGORIES:Other Exhibition Past,Past
ATTACH;FMTTYPE=image/png:https://albertaprintmakers.com/wp-content/uploads/2024/01/cropped-Logo-AP-NoBG.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20060801
DTEND;VALUE=DATE:20060809
DTSTAMP:20250730T164230Z
CREATED:20250724T174904Z
LAST-MODIFIED:20250730T164230Z
UID:10000234-1154390400-1155081599@albertaprintmakers.com
SUMMARY:History\, Memory\, and Place
DESCRIPTION:About the Exhibition\nHistory\, Memory\, and Place is a fundraiser and exhibition that will help generate the funds to support A/P as we relocate into our new studio space. It will be on view for one week at Image 54\, 2006. \n  \nArtist: Group Show\n  \n  \n  \n 
URL:https://albertaprintmakers.com/event/history-memory-and-place/
LOCATION:Alberta
CATEGORIES:Other Exhibition Past,Past
ATTACH;FMTTYPE=image/png:https://albertaprintmakers.com/wp-content/uploads/2024/01/cropped-Logo-AP-NoBG.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Edmonton:20060502T080000
DTEND;TZID=America/Edmonton:20060502T170000
DTSTAMP:20250730T164209Z
CREATED:20250724T174842Z
LAST-MODIFIED:20250730T164209Z
UID:10000232-1146556800-1146589200@albertaprintmakers.com
SUMMARY:2006 Members Show
DESCRIPTION:About the Exhibition\nThis year’s annual members exhibition will be held at Art Central. This is a exciting exhibition featuring both new and veteran members of A/P. \n  \nArtist: Group Show\n  \n  \n  \n  \n 
URL:https://albertaprintmakers.com/event/2006-members-show/
LOCATION:Alberta
CATEGORIES:Other Exhibition Past,Past
ATTACH;FMTTYPE=image/png:https://albertaprintmakers.com/wp-content/uploads/2024/01/cropped-Logo-AP-NoBG.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20051215
DTEND;VALUE=DATE:20051230
DTSTAMP:20250730T164408Z
CREATED:20250724T174700Z
LAST-MODIFIED:20250730T164408Z
UID:10000230-1134604800-1135900799@albertaprintmakers.com
SUMMARY:2005 Micro-Mini Print Exhibition
DESCRIPTION:About the Exhibition\nA/P is launching our third annual Micro-Mini Print Project! \nMembers are invited to participate in our fundraiser of micro-mini prints! We are looking for prints with a maximum size of 9 square inches. The work will be on view at Gallery Image 54 throughout December\, 2005. \n  \nArtist: Group Show\n  \n  \n  \n 
URL:https://albertaprintmakers.com/event/2005-micro-mini-print-exhibition/
LOCATION:Alberta
CATEGORIES:Other Exhibition Past,Past
ATTACH;FMTTYPE=image/png:https://albertaprintmakers.com/wp-content/uploads/2024/01/cropped-Logo-AP-NoBG.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20041101
DTEND;VALUE=DATE:20041202
DTSTAMP:20250730T164352Z
CREATED:20250724T174551Z
LAST-MODIFIED:20250730T164352Z
UID:10000225-1099267200-1101945599@albertaprintmakers.com
SUMMARY:2004 Micro-Mini Print Exhibition
DESCRIPTION:About the Exhibition\nA/P is launching our third annual Micro-Mini Print Project! \nMembers are invited to participate in our fundraiser of micro-mini prints! We are looking for prints with a maximum size of 9 square inches. The work will be on view at Gallery Image 54 for December\, 2003 as part of an “Affordable Art” show\, sale\, and fundraiser. \n  \nArtist: Group Show\n  \n  \n  \n 
URL:https://albertaprintmakers.com/event/2004-micro-mini-print-exhibition/
LOCATION:Alberta
CATEGORIES:Other Exhibition Past,Past
ATTACH;FMTTYPE=image/png:https://albertaprintmakers.com/wp-content/uploads/2024/01/cropped-Logo-AP-NoBG.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20041001
DTEND;VALUE=DATE:20041002
DTSTAMP:20250730T163733Z
CREATED:20250724T174416Z
LAST-MODIFIED:20250730T163733Z
UID:10000228-1096588800-1096675199@albertaprintmakers.com
SUMMARY:Sunlife Building Display
DESCRIPTION:About the Exhibition\nA/P has been invited to fill the ground-floor lobby display windows of the Sunlife Building\, located in Downtown Calgary\, for the month of October. We have the opportunity to showcase 18 small-scale works within these displays\, and therefore\, this will be a short but sweet non-juried members exhibition! \n  \nArtist: Group Show\n  \n  \n  \n 
URL:https://albertaprintmakers.com/event/sunlife-building-display/
LOCATION:Alberta
CATEGORIES:Other Exhibition Past,Past
ATTACH;FMTTYPE=image/png:https://albertaprintmakers.com/wp-content/uploads/2024/01/cropped-Logo-AP-NoBG.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20040529
DTEND;VALUE=DATE:20040530
DTSTAMP:20250730T163748Z
CREATED:20250724T174348Z
LAST-MODIFIED:20250730T163748Z
UID:10000227-1085788800-1085875199@albertaprintmakers.com
SUMMARY:A/P and Friends
DESCRIPTION:About the Exhibition\nThe Alberta Printmakers’ Society\, generously hosted by the Triangle Gallery\, is offering Calgary art enthusiasts an opportunity to own orginal prints by artists across Alberta and the Western provinces. This one-day sale will present a wide variety of print media and styles. The sales will both benefit the artists and raise funds for operating the studio. \nThis is a collaboration between A/P\, SNAP\, Malaspina & Dundarave (Vancouver)\, Manitoba Printmakers\, and the printmaking faculties of U of C and U of A. We received 450 prints altogether for this joint exhibition and fundraising print sale! Following the one-day sale\, the remaining prints will go on view at Gallery San Chun.  \n  \nArtists included in the exhibition from A/P and SNAP:\nJustin T. Acton\, Melanie Aikenhead\, Elizabeth Allen\, Amy Archer\, Meghan Armstrong\, Janet Biagioni\, Carole Bondaroff\, Dawn Davies\, Pattie Dawkins\, Debra Dedyluk\, Marjan Eggermont\, Gwen Frank\, Cathrine Green\, Jen Hamm\, Tracy Harris\, Kelly Haydon\, Ruth Helton\, Heather Huston\, Erik Waterkotte\, Doreen Johns\, Milo Jones\, Pat Jones\, Clara Kim\, Ursula Knight\, Eveline Kolyn\, Mona Leavitt\, Dianna Loveland\, Janet Lowry\, Helen Mackie\, Holly McWilliams\, Nick Meijer-Drew’s\, Linda Mercer\, Christi Mulder\, Christina Nalder\, Gary Olson\, Nancy Osadchuk\, Stan Phelps\, Lucille T. Piluti\, Susan Quipp\, Ron Robinson\, Marc Stegner\, Teresa Stieben\, Ken Webb\, Jim Westergard\, Andie Wicherts\, Joan Wiese\, John Will
URL:https://albertaprintmakers.com/event/a-p-and-friends/
LOCATION:Alberta
CATEGORIES:Other Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/4EDCF6B7-20D2-4F1F-AB5D-EE363BF10B60_1_201_a.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20031202
DTEND;VALUE=DATE:20031229
DTSTAMP:20250730T163957Z
CREATED:20250724T173950Z
LAST-MODIFIED:20250730T163957Z
UID:10000224-1070323200-1072655999@albertaprintmakers.com
SUMMARY:2003 Micro-Mini Print Exhibition
DESCRIPTION:About the Exhibition\nA/P is launching our second annual Micro-Mini Print Project! \nMembers are invited to participate in this fundraiser of micro-mini prints! We are looking for prints with a maximum size of 9 square inches. Paper and supports should be no larger than 8″ x 8″. The work will be on view at Gallery San Chun for December\, 2003. \n  \nArtist: Group Show\n  \n  \n  \n  \n 
URL:https://albertaprintmakers.com/event/2003-micro-mini-print-exhibition/
LOCATION:Alberta
CATEGORIES:Other Exhibition Past,Past
ATTACH;FMTTYPE=image/jpeg:https://albertaprintmakers.com/wp-content/uploads/2025/07/12_Micro2003_Scan-e1753833335572.jpg
END:VEVENT
END:VCALENDAR