advancing the arts in Lethbridge

A publication of the Allied Arts Council of Lethbridge (AAC)

F a l l / W i n t e r 2 0 1 0 . 1 1

Artists

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ARTSBRIDGE 1

September, the start of the new arts season!

The launch of the arts season in Lethbridge

saw many citizens engaging with our local

arts community to celebrate Arts Days.

Lethbridge was recognized by the province

as one of five 2010 Arts Days Celebration

Flagship cities and the Allied Arts Council

(AAC) was delighted to work in partnership

with many community arts and cultural

organizations, as well as over 200 artists to

bring the weekend to life.

A significant event during the week end

was the grand re-opening of the recently

renovated and expanded Southern Alberta

Art Gallery. The SAAG renovation/expansion

project is the first of the arts facility

improvement projects to be completed. The

second project – the Bowman Arts Centre

Replacement – is in the final design stages

this fall and funding potential for the third

project – a new Performing Arts Centre – is

being investigated.

The design of the new community arts cen-

tre (pgs 13 & 14) considers the environment

and has taken in to account environmental

factors such as wind, sunlight and snow. The

building will use environmentally-conscious

elements such as passive solar heating and

natural building materials.

The environment no doubt inspires the

arts community. Whether it is work that

represents the beauty of our surroundings,

work that interacts with nature or work that

speaks about the importance of protecting

the environment, Lethbridge and area

artists are deeply rooted in the landscape.

This edition of ArtsBridge focuses on

the connections artists have with their

environments.

A recurring theme emerges when con-

templating the arts and the environment;

that is community. An increasing num-

ber of groups and partnerships are form-

ing around the arts and environment. The

Southern Alberta Science and Art Collective

(pgs 2 & 3) brings local artists and scientists

together for conversations, field trips and

collaborative projects. The Helen Schuler

Nature Centre’s Drawn into Action project

(pgs 6 & 7) taught both school children and

adult participants about the importance

of the environment. The Southern Alberta

Community of Environmental Educators

(SACEE) combines art and environmental

education to create unique learning experi-

ences (pg 15).

Much of art that focuses on the environment

serves to educate. A number of musicians

(pg 16) are performing and writing music

to raise awareness and inspire change.

Lethbridge artist Troy Nickle challenges us

to think about the relationship between

culture and nature in his work (pg 14) and

Eileen Murray draws on her relationship

with the environment, whether it is natural

or human made, to learn more about her

self (pg 4).

We are fortunate to have such an inspiring

rural and urban landscape that continues

to inspire amazing art in our city. As

Lethbridge’s arts community continues to

grow, our relationship with the environment

will continue to evolve. It is my hope that

the dialogue between humans and the

environment demonstrated by artists in the

following pages will continue.

Suzanne Lint

Executive Director

director’smessage

Fall

/W

Inte

r 2

010.

11PublisherAllied Arts Council of Lethbridge318 . 7 Street SouthLethbridge, AB T1J 2G2T: 403.320.0555 F: 403.320.2450info@artslethbridge.orgwww.artslethbridge.org

Publication date October 2010

Administration

Suzanne LintExecutive Director

Jana MacKenzieOffice Services & Finance

Ashley MarkusCommunications

Vanessa Eagle BearReception

Programming

Claire HattonEducation & Facility Services

Darcy LoganGallery Services

Board of Directors

PRESIDENTBarb Cunningham

VICE PRESIDENTGloria Torrance

TREASURERMike Thiel

SECRETARYDavid Renter

DIRECTORSChristopher BabitsCarolla ChristieSarah ChristensenShirley DeBowTyler GschaidMelissa ManieriLes OstrowskiIan RandellKim SieverElizabeth Songer

For additional copies contact the AAC office.

No part of this publication may be reproduced without the written consent of the publisher.

1 ARTSBRIDGE

&

2 ARTSBRIDGE

Southern Alberta

scienceart

A new collective of artists and scientists has come together in Lethbridge;

appropriately named the Southern Alberta Science and Art Collective.

The idea for this group was by way of Rose De Clerck-Floate; a Scientist/ento-

mologist who researches invasive plant biological control. She wanted to do

more; “to get on the field rather than just sitting in the stands”. She started

the group because of a deep-seated need to make a difference with respect to

the environment and to engage the public on urgent environmental issues. “I

believe that this can be done through art. I have heard it mentioned by others

that scientific knowledge is not enough to engage people, the messages have

to involve emotion and go deeper within us...to be cognitive.”

co

lle

cti

ve

ARTSBRIDGE 3

De Clerck-Floate organized an inaugural “think tank” and potluck supper to pull together a small group of artists and

environmental scientists for a few of hours of dialogue, thinking and creating to generate ideas for communicating

environmental issues to the public through art (e.g., water issues in Southern Alberta, the realities of climate change, the

impact of invasive species to name just a few topics). Although the idea of environmental art is not new, De Clerck-Floate

felt that “Lethbridge would be a perfect environment for such a project because we have the artists, scientists, landscape

and energy for it.” At the inaugural gathering, the group discussed the scope of the project, how the two groups perceived

each other, and how they would work together as a group. The decisions were to:

1) Take a celebratory approach (versus activist) in engaging the public.

2) Focus on what is local and unique (i.e., to southern Alberta) as a theme.

3) Get to know each other as separate groups and individuals (e.g., artists and scientists) before

launching into a major project.

A second evening was held at the SAAG where each artist and scientist gave a short presentation on what they do in

their work. The group then took a rangeland tour in July to the foothills near Stavely. The tour was led by Barry Adams; a

rangeland ecologist and John Dormaar; a rangeland soil scientist. The two explained the natural history, human history

and science of the foothill rangelands, and guided the group across the wide, rolling rangeland landscape. The walk-about

was made even more dramatic by the drifting of large lingering storm clouds. De Clerck-Floate says: “The group went from

the healthy, lightly-grazed pasture to the diminished, heavily grazed fields and stopped at each to assess and develop a

picture of the situation. What emerged was a collective shift of both our perspective and appreciation of a unique natural

ecosystem in southern Alberta, as revealed by science. Many of the artists and scientists will draw from this experience in

their work. And so the mutual, human experience of two normally separate groups (artists and scientists) will ripple out

to touch others.”

Leanne Elias is one of the participating artists who has been involved in the group since its formation. Elias works in

mediums such as photo and video, as well as being a web designer. She became part of the collective when she was

contacted by De Clerck-Floate. Ryan Doherty, curator at the SAAG had provided a list of possible artists who he thought

may have been interested in the project.

Elias is paired with Frank Larney, a Soil Scientist. Despite having conflicting schedules over the summer, they managed

to connect on the Rangeland Tour in July. Frank works with feedlots and their compost, and Elias plans to visit him on his

work site soon to see his work up close.

When asked about what she has learned so far from the collective, and what the value of artists and scientists getting

together, she answered:

“The passion that all of the scientists show for their work is motivating and inspiring. There is an incredibly rich body of

knowledge that these scientists have, and the opportunity to collaborate with them is pretty exciting. I think that they

are artists at heart, because when they describe their work they use very visual terms. In fact, there are many similarities

between the two groups: we both question incessantly, we both rely on research to come to a conclusion (whether that

conclusion is data or a finished artwork), we both feel the need to communicate to others. There are probably some other

ways that will be revealed as we work as well.”

In talking about plans or ideas for her collaboration with Larney, Elias emphasized the process rather than the finished

product, which seems to be an important theme in the project:

“Although I know there will be some excellent projects that come out of this collective, I also think that the conversations

we have been having until now are also just as important. Sharing of knowledge – whether over coffee or on a full-day

tour – can be transformative.” AB

I think that they

are artists at

heart, because

when they

describe their

work they use

very visual terms.

“

”

The collective has started a blog at scienceandartcollective.wordpress.com where many of the artists and

scientists have shared their work, thoughts and impressions.

4 ARTSBRIDGE

Local artist Eileen Murray lives on a farm near Brooks, AB and is currently undertaking graduate studies at the University of Saskatchewan. She works in non-traditional forms of photography and painting and often combines mediums to create mixed media work. She investigates notions of self, auto biography, memory, the passage of time and cultural identity in her work.

Her recent show at the Bowman Arts Centre, The Myth of the West explored the western tradition of branding cattle. As the wife of a rancher, her role within the tradition involves administering injections to calves, doing paperwork and cooking, much the same as her role as mother and wife. Murray exploited this allocation of roles by using lens distortions and textured papers which created a veil as to what was actually depicted in the photograph.

When reflecting on how living in a rural area affects her artistic practice, she remarked: “The difference between art and life often disappears. When you live in a rural area, you have no choice but to be constantly engaged with your surroundings. Conversations often revolve around the weather, the land and the farm because that is your everyday life.” Murray also talked about the feeling of remoteness, and how it can be beneficial to an artistic practice because of the constant immersion in the landscape.

When thinking about the abundance of creativity on the prairies and whether the landscape has anything to do with it, Murray noted: “I think the landscape definitely contributes into the level of creativity in our area. When you are in a big city, you don’t necessarily engage with the natural landscape as readily as you do in a rural setting. Here you are forced to engage with the land every day, our huge sky and prairies aren’t blocked by large buildings.”

Though her work is often about landscape, she chooses to represent it non-literally: “I do not wish to represent the landscape by recreating an image of the landscape. My goal is to create an atmosphere within the gallery that will encase the viewer in the feeling of landscape.” Murray has developed an increased interest in the relationship between the body and

the environment. After battling with cancer, her interest in self portraiture as a form of therapy and documentation developed as her body changed throughout chemotherapy and radiation treatments. In her emerging work, based upon the landscapes of rural Saskatchewan and Emma Lake, she explores her relationship to the land and finding her place in it again:

I attended the Emma Lake Artist Workshop in 2005 and again in 2009. The experience in 2005 was one of dislocation and personal tragedy; my father had just been diagnosed with cancer and I had discovered a lump in my breast. Although my Father and I were born and he raised in Saskatchewan, the landscape during this time was foreign to me, it was cold and did not whisper the poetry of memory. In 2009, three years after his passing and my clean bill of health, my experience at the workshop was one of self imposed inquiry -where am I, and where do I fit in this landscape? Where have I been? Where shall I go and what will inform my journey? I was interested in discovering the cultural text that is myself through an investigation of familiarity with the unknown and an interpretation of the fictional narratives of found memories.

In this work she layers images of herself in images of empty and decomposing rural buildings and landscapes. The lingering feelings remaining from her illness are explored- disorientation, alienation, and abandonment are echoed in empty landscapes, devoid of preservation and maintenance.

Eileen’s work exposes the intimate connection many artists have with the landscape. Her investigation of personal history, loss and gain is deeply rooted and connected to her rural environment and sense of place. “I document experiences within my surroundings, personal circumstances and traditional dogmas. The work is a space to reflect, re-assess and re-consider ‘self’.” Watch for Eileen’s next show; Imaginings from Emma at the CNP Public Art Gallery in Frank, Alberta from May 23 - July

3, 2011. AB

Art as Life on the Prairies An Interview with Eileen Murray

ARTSBRIDGE 5

a substantial inven-

tory of work that, for a

variety of reasons, will

likely remain so for

some time. Let’s just

refer to it as Van Gogh

Syndrome, though

few if any will ever

gain that artist’s post-

humous fame.

It can be said with-

out reservation that

most visual artists

(at least the ones I

know) certainly don’t

make art for financial

gain. Thus, it could be

said that the issue of

whether a communi-

ty supports its artists

or not is moot. That

would be approach-

ing the whole matter

from a completely

wrong perspective.

Let’s, instead, view it

from the community

point of view. In some

ambiguous way there

is a symbiotic rela-

tionship that exists

between visual artists

(and probably other

bo

ard

blo

gMuch of art is about telling stories– about ourselves and the world we live

in. Art helps define who we are, what we do and where we fit within our

environment. A great deal of art shows how we view our environment while

some art addresses concerns about the environment. Trudi Lynn Smith’s

recent exhibition at the SAAG, Finding Aid, explored the gap between our

photographic representations of places and the real thing. The architecture

at the Galt Museum (especially the viewing gallery) welcomes in the

environment. At Nikka Yuko Gardens, the buildings live in harmony with the

environment... an environment that is carefully controlled. The Lethbridge

Symphony Orchestra’s presentation of A Tone Poem this February is based on

impressions of the badlands and their history.

But the environment is only half the story- if we wish to act on these stories we

need to know the facts. What effect will our actions have on the environment?

It is here science tells us additional stories- told with computers, projections

and math. It has been said that art supplies meaning, art is a mirror we hold

up to ourselves to see more clearly. When you look at art, think for a moment

about the stories that are being told. Does the art promote understanding or

protection of the environment?

There are many local artists telling stories about our environment; their work

creates awareness and can help us all be mindful of the stories we tell. Everyone,

not only artists and scientists, tell their stories about the environment; in the

way we live, the arrangement of our houses and yards and in our actions in

our community. AB

scroll

By Carolla Christie, Visual Artist & Allied Arts Council Board Member

The Stories We Tell

Check out the Association for Literature, Environment, and Culture in Canada’s websitewww.alecc.ca

6 ARTSBRIDGE

Drawnintoaction

The Helen Schuler Nature Centre has been facilitating a Community Mapping Project called “Drawn Into Action”

over the past nine months. The program was presented at local schools in 2009/10 as well as to a group of

community members over the summer of 2010.

The aim of the program is for participants to develop a greater understanding and appreciation for the importance

of biodiversity within Southern Alberta through first hand involvement and experience. No previous mapping

or art experience was required, just a desire to learn more about Southern Alberta and how humans shape the

landscape in the present and into the future. Participants formed a better understanding of how ecosystems

and watersheds impact their everyday life, while exploring the challenges of balancing economic, social and

environmental needs within a community. They took this information and learned how to portray and share

what they value about the land in creative, collaborative maps. The maps will be displayed in community wide

exhibitions (including this year’s Arts Days celebrations in September).

The project included a 1⁄2 day in-class mapping workshop, a one day long local field trip in the Lethbridge area,

and a one day long regional field trip to Waterton Park.

We got a chance to talk to Laura Piersol, Community Mapping Project Coordinator, about the journey.

Maps can be instruments of discovery. A community mapping project, called Drawn into Nature, has become a

journey of discovery, sharing and interpretation for local students, naturalists, artists and youth. The collaborative,

fieldtrip-based project has been described as a meeting of science and art. The process challenged the individuals

and groups who participated to give voice to features of the landscape; to tell the stories of place.

The aim of the program is for

participants to develop a greater

undertanding and appreciation for the

importance of biodiversity within

Southern Alberta

ARTSBRIDGE 7

actionEach map

tells its own unique story

and in the process of

mapping each

individual found their own

personal story...

The Community Group

“Interestingly, the diversity of natural and cultural features that we are studying within the landscape is mirrored

in the amazing variety of backgrounds that our adult community group brings to the program”, notes Piersol.

“From their life experience we are able to draw on everything from forestry to history to performance art. As a

result, the learning on the field trips really is a collaboration of voices that weave together various perspectives

and sprout inspiration”.

Goethe once said “My work is the work of a collective being”; Piersol remarked on how the adult community

member group exemplified this: “Those who were reluctant to call themselves “artists” boldly took up a pencil

to sketch, while those that self identify as artists picked up words such as “riparian” and “leafy spurge” as they

began to expand their science vocabulary. At the heart of the program is a blending of art and science which the

participants really enjoyed.”

The boundaries and man-made divisions expressed in many maps change over time; so too do perceptions and

relationships with the built and the natural features that surround us. As we become more aware of a place we

can’t help but appreciate some aspects of it more. When we appreciate something, we value it. In the end, it is

the things we value that we will preserve. “This sharing of ideas, values and a general love of nature is a common

theme for many of the community members participating. You can really hear this in the current visions they

have for their maps”, says Piersol. Members worked on maps ranging from a fabric skirt that represented the

Oldman River to a photo collage of wildlife found on coulees, to acrylic paintings of how an area within the

watershed changes throughout the seasons.

The School-Age Group

The teachers of the close to 50 middle school students that participated in the project expressed their gratitude

in the project’s cross curricular nature and the time that was given for students to reflect on what they had

seen and taken part in. The groups focused on the “interconnection within ecosystems” as it fit in with one of

the objectives of their science unit. Their maps illustrated how the watershed and grasslands link together the

landscapes that the students explored within Waterton and Lethbridge. Egg cartons formed mountain peaks and

glass beads marked rivers; the maps were all very tactile and creative.

The classes took the project to heart, showing dedication and commitment despite their busy school schedule,

some students even came in on their lunch hour to work on their maps. The students have reason to be proud of

the pieces that they created and their works were displayed during Lethbridge Arts Days in September alongside

other artists. Hopefully, this was the first showing of many for students that choose art for their life’s path.

Conservation within Southern Alberta means embracing a sense of a “working landscape” where farmers, cities

and industry must all work together to meet a balance of various social, environmental and economic needs.

These various land use perspectives were presented during the project through a series of guest speakers. These

speakers with their backgrounds in ecology, archaeology, ranching and conservation work not only underlined

the importance of collaboration when it comes to conservation but also shared their personal connection to this

place we all call home.

Each map tells its own unique story and in the process of mapping each individual found their own personal story

more connected to the unique natural and cultural sites of Southern Alberta. AB

To find out more about the program, or to learn more about the importance of biodiversity within Southern

Alberta, visit the Helen Schuler Coulee Centre in the Oldman River Valley or contact (403) 320-3064.

WWeʼre back!

Although the name is familiar to some, the resurrection is not without changes.

Over ten long years of publication blackout have resulted in a re-energized

group of people anxious to rebuild the University of Lethbridge’s own literary

magazine. For those who aren’t familiar: Whetstone was established in 1971 as

a literary magazine that published poetry, prose and visual art. With a dedicated

editorial team, committed advisors from the English faculty and donations from

the community, Whetstone was able to produce an annual medium for the poets,

writers and artists of the area. Eventually publishing biannually, the magazine ran

until the winter of 1999.

Now fast forward a little to 2009.

One of our faculty advisors, Dr. Jay Gamble, informed of us Whetstone’s history and

sparked an interest in the publication of a literary magazine. A preliminary meeting

drew over twenty students, all vying for a position on the editorial group. The initial

enthusiasm and strong interest in reviving the University’s long forgotten literary

magazine had bolstered the desire to renew the publication.

The collective decided to remain as Whetstone. The rural flare of the sharpening

stone remained a fascinating banner for a magazine that was published out of

southern Alberta. The rich, thirty-year tradition was difficult to ignore and it seemed

an honor, rather than a burden, to carry that name back into present. However, after

a ten-year intermission it seemed as though Whetstone was due for an upgrade

into the twenty first century.

Our “first” issue embraces our past while taking strides forward. We have

submissions by four winners of the Striking Prose Competition, poetry that plays

with form and space including three from prairie poet Robert Kroetsch and several

texts that embody southern Alberta. All of this is held together by the modern,

fresh layout design of Braden Yamamoto who has provided a shiny new body that

integrates the past and present. Both the content and the container represent the

revival of Whetstone, the resuscitation complete with a revamped exterior and a

careful adherence to the timeless design of the original. We have the technology

and we have rebuilt it, a synthesis of new and old.

Whetstone launched its new magazine at September’s Arts Days celebrations.

There were readers and writers who shared their work as well as representatives of

the magazine that answered questions about Whetstone, including our submission

guidelines for the next issue (coming this winter). It was a great opportunity to

consume, ruminate on and explore the local arts that hopefully inspired many to

create their own works of art! AB

For more information on Whetstone contact Jay Gamble, 403.382.7178

by R

ylan

Spe

nrat

h, M

anag

ing E

dito

r, W

hetst

one

Whetstone Literary Magazine ReturnsAf te r more t han a de cade l ong h ia tu s Whe t s t one makes i t s r e - debu t .

8 ARTSBRIDGE

poem

by S

helly

Eli

Trail MixWith hands gripping thesteering wheel

First year in college

He stares at the Rabbitstaring back

Think, Think, Think

Where can he get some money,Gas gauge is on Elvis

Ask the Rabbit for help

Take pity on me Rabbit Spirit,I have no tobacco to offer

Please send me some money,

I need to put gas in the car,to get to class all week

Dad says you like trail mix

I will put some out for youas soon as I can

He starts his car

Rabbit watches as he drives away,his music so loud

Canʼt hear what Rabbit says

Okay Grandson, I will help you,donʼt forget the trail mix

No salt, lots of cranberries.

Whetstone Literary Magazine ReturnsAf te r more t han a de cade l ong h ia tu s Whe t s t one makes i t s r e - debu t .

ARTSBRIDGE 9

There’s nothing quite like enjoying the sound of live music

in the outdoors on a beautiful day. This past summer’s

South Country Fair, “an intimate outdoor, camping-style

folk and roots festival” was no exception, and got me

thinking about the role that the landscape, weather and

environment play in creating the fair’s all-encompassing

experience. There’s something about a couple thousand

people coming together to camp in a prairie valley for a

weekend that creates a truly unique experience.

Many who stay the weekend share a similar understanding;

we will get dirty, bug-bitten, hot and thirsty; but we will

take care of each other and the land. From campsites

offering a refreshing spritz of water to passers by on a

hot afternoon, to guided tours explaining medicinal and

edible plants in the area, or a labyrinth made completely

of local found stones, the feeling of community and

kindness abounds.

One of the most memorable features of the fair is going

for a dip in the Oldman River when the heat is sweltering.

As I had missed the last few years of the fair, I was amazed

to see a new route carved out into the forest that led to

the new swimming area. We soon adapted and enjoyed

walking on the new path and discovered the rusty

remnants of decomposing cars in the forest; left over from

a time gone past. I was surprised to see how the Oldman

River had changed; and the former swimming spot and

islands were now flooded out and deemed unsafe. The

change in the river and landscape mimicked the changes

in life; after 10 years of going to the fair, life has changed

too. We don’t often notice small changes in the landscape

such as how a river gradually carves out a new path. It’s

nice to be able to return to the fair grounds once a year

and see the subtle changes that aren’t noticed day to day.

The Sounds of the Great

By Ashley Markus

Many who s t a y t he weekend sha re a s im i l a r unde r s t and ing ; we w i l l ge t d i r t y, bug -b i t t en , ho t and t h i r s t y ; bu t we w i l l t ake ca r e o f ea ch o the r and t he l and .

Outdoors

10 ARTSBRIDGE

There’s nothing quite like enjoying the sound of live music

in the outdoors on a beautiful day. This past summer’s

South Country Fair, “an intimate outdoor, camping-style

folk and roots festival” was no exception, and got me

thinking about the role that the landscape, weather and

environment play in creating the fair’s all-encompassing

experience. There’s something about a couple thousand

people coming together to camp in a prairie valley for a

weekend that creates a truly unique experience.

Many who stay the weekend share a similar understanding;

we will get dirty, bug-bitten, hot and thirsty; but we will

take care of each other and the land. From campsites

offering a refreshing spritz of water to passers by on a

hot afternoon, to guided tours explaining medicinal and

edible plants in the area, or a labyrinth made completely

of local found stones, the feeling of community and

kindness abounds.

One of the most memorable features of the fair is going

for a dip in the Oldman River when the heat is sweltering.

As I had missed the last few years of the fair, I was amazed

to see a new route carved out into the forest that led to

the new swimming area. We soon adapted and enjoyed

walking on the new path and discovered the rusty

remnants of decomposing cars in the forest; left over from

a time gone past. I was surprised to see how the Oldman

River had changed; and the former swimming spot and

islands were now flooded out and deemed unsafe. The

change in the river and landscape mimicked the changes

in life; after 10 years of going to the fair, life has changed

too. We don’t often notice small changes in the landscape

such as how a river gradually carves out a new path. It’s

nice to be able to return to the fair grounds once a year

and see the subtle changes that aren’t noticed day to day.

It’s refreshing to see first hand the power that nature can

still hold over humans; these days it seems to be the oppo-

site in most cases. And part of the fair experience is about

adapting; fair goers didn’t seem bothered by the new route

to get to the river, but rather happy to start a new tradition.

Mark Whitehead, dedicated fair-goer shared his thoughts on

the changing river and its impact on the festival: “The course

of the Oldman has changed quite a bit over the years, and

has had a big impact on the fair. Definitely wetter years are

always more mosquito prone; during the flood of 2005 a

lot of the campground was part of the river. Because of all

the flooding then and now, the access to the lower

campground will forever be changed.”

When asked if he had any memories that

stood out of amazing interactions between

the music and landscape, Mark recollected:

“I remember a powerful thun-

derstorm during McQuaig’s

performance about five

years ago. Lightning

and thunder were the

perfect counterpoint

to the raw energy of

Mcquaig’s celtic-punk

bagpipes.”

By the end of the festival, many were yearning for some

sort of crescendo; to help the festival go out with “a bang”.

The weather had been consistently hot, and the sometimes

Saturday night thunderstorm (and resulting Sunday morn-

ing mudslide) had not taken place. The closing act of the

festival was Delhi 2 Dublin; a high energy, Vancouver-based

band combining an energetic mash-up of Bhangra, Celtic,

Dub Reggae and Electronica. Fair goers were notably tired

from the weekend’s festivities, but as the band played its

first few songs, the air got muggy, the skies clouded over,

and the energy grew; an approaching summer storm

appeared.

The band belted out their songs and shook their

fists at the clouds as fair goers squeezed in as much

as they could before the oncoming downpour. The

crowd of dancers and the band had an unspoken

understanding to squeeze in every last bit of

bliss before the summer storm. It held off un-

til the band finished and the resulting crowd

was quickly ushered home by the downpour.

Experiences such as this are a unique part

of South Country Fair, and they provide a

grounding experience that keeps fair goers

coming back, year after year. It’s an awe-inspir-

ing experience to see the environment and

the arts working together to create something

genuinely beautiful. AB

Check out past photos from the fair at

www.scfair.ab.ca.

Many who s t a y t he weekend sha re a s im i l a r unde r s t and ing ; we w i l l ge t d i r t y, bug -b i t t en , ho t and t h i r s t y ; bu t we w i l l t ake ca r e o f ea ch o the r and t he l and .

ARTSBRIDGE 11

The Community Arts Centre is replacing the worn-out and deteriorating

Bowman Arts Centre; a facility the Lethbridge arts community has long

outgrown. The Allied Arts Council (which manages the Bowman and its

programming) and the arts community have been lobbying for a new

facility for decades and they are gratified to see the project being realized.

The Community Arts Centre won’t be just replacing the Bowman, it will be

so much more.

The University of Lethbridge Conservatory of Music has also been running

short on space at the university for years. With the announcement earlier

this year regarding the Community Arts Centre, the Conservatory saw

an opportunity to partner with like-minded individuals in order to secure

additional space that is in a more central location. Having the Conservatory

as a partner in the facility expands the offerings, making it a truly multi-

generational, multi-disciplinary environment. Programs will share foyer

space, meeting rooms, administration space, rehearsal and storage space,

washrooms and dressing rooms.

LETHBRIDGE’S NEW COMMUNITY ARTS CENTRE IS BECOM-

ING A REALITY. THE SITE OF THE FACILITY WILL BE ON THE

CORNER OF 8 ST AND AVE S; BETTER KNOWN AS THE OLD IGA

SITE. THE COMMUNITY ARTS CENTRE WILL SHARE THE SITE

WITH THE FUTURE PERFORMING ARTS CENTRE, WHICH WILL

BE A SEPARATE BUILDING AND UNDERGO A SIMILAR PROCESS

AS THE ONE DESCRIBED BELOW.

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Next StepsLethbridge’s Community Arts Centre[ ]

3

12 ARTSBRIDGE

Next StepsShortly after the Community Arts Centre was announced, a public call out was made for three community

representatives to serve on the Community Arts Centre Steering Committee. This committee was formed

by the City of Lethbridge and included representatives from arts groups, Bowman staff, Conservatory

staff, Allied Arts Council staff, City of Lethbridge staff, and members of the general public.

The steering committee then spent significant time combing through thousands of pages of proposals

from architects from throughout Canada and the United States. After meeting with the shortlisted

candidates, the committee came to a consensus on an architect team. The committee ultimately selected

local architectural firm Ferrari Westwood Babits who was partnering with Calgary-based Pendergast

Nyhoff Collaborative Architecture. The committee met with the architectural team—Art Ferrari, Dan

Westwood, Christopher Babits, Jane Pendergast, and Kevin Nyhoff—several times over the summer, and

a preliminary design was finalized toward the end of August. The design was presented to and approved

by City Council on September 13.

The next step will be to prepare detailed drawings and send out a request for tender. Once all the tenders

are in, a firm to manage the construction of the Community Arts Centre will be selected.

The Community Arts Centre will be a focal point of the arts in Downtown Lethbridge. Citizens will be

able to enroll themselves and their children in dance, music, pottery, drawing, and painting classes. It

will house a gallery for exhibiting talent from local artists and serve as a collaborative home for the arts

groups currently at the Bowman.

The 30,000 sq. ft. facility will include classrooms; 3D studios for clay and sculpture; 2D studios for drawing,

painting, and printmaking; a textile studio, a kiln room; a wood workshop; exhibition space; meeting

rooms; a community space for theatre or music/dance rehearsals; dressing rooms; a dance studio and

music practice rooms.

Finishing, lighting, and millwork inside will be durable and industrial-looking though warm. This, as well

as the building form, will highlight the creative experimentation that is the essence of a community arts

centre. Works will be visible through interior walls and display boxes so passersby will be able to see art

as it unfolds.

The exterior will express the interior activity, so the city can see what’s happening in the building and patrons

can see what’s happening in the city. An outdoor plaza will host cultural festival and performances.

Situated adjacent to the recently renovated Southern Alberta Art Gallery and a future Performing Arts

Centre—as well as the nearby Trianon and Mueller galleries, the Potemkin studio and Allied Arts Council

offices—the Community Arts Centre will be part of a growing and vibrant arts district downtown.

If everything goes according to plan, late in 2012 we should see a beautiful two-storey building in the heart

of downtown that glows with excitement and inspires the imagination. AB

CITIZENS

WILL BE ABLE

TO ENROLL

THEMSELVES

AND THEIR

CHILDREN IN

DANCE,

MUSIC,

POTTERY,

DRAWING,

AND PAINTING

CLASSES.

[

]

ARTSBRIDGE 13

14 ARTSBRIDGE

AD: Describe your work for someone who doesn’t have any exposure to land or outdoor work.TN: It varies a lot – I would describe it as environmental sculpture, working with materials found in the environment as well as materials in the studio that may make reference to the landscape or the figure. You could call it land art, I guess.

AD: Do you pre-plan your work?TN: No- usually, if I am working on an outdoor intervention, the time and place will make the work and it will depend on materials available. If there’s a large amount of driftwood for example, I’m not going to carry it long distances to work with it, I’ll just do the work onsite.

AD: Do you see yourself in a broader movement?TN: I think so, this kind of thing is happening everywhere with a variety of artists. There are a lot of common universal themes surfacing.

AD: Like what?TN: The spiral or coil – that’s been done hundreds of times – I don’t know if I want to focus on that, making spirals all the time, in my own work, but it’s a universal image.

AD: Are there other elements, conceptual or aesthetic, that you connect with or that are relevant to the work?TN: The landscape and the figure seem to be a current theme. Early on in my development as a sculptor, I sculpted from the figure a lot and something about the figure in the landscape references society and culture, and society’s place within the environment. It symbolizes where society works within nature. There is definitely an aesthetic thing I strive toward when I create a work, but I consider it more of a gesture, or an event, that takes place. Also, I like the backcountry ethic of leave no trace. For example, Chris Dury – he would set up a cairn and then dismantle it after he photographed it.

AD: Were you exposed to this kind of work growing up in Lundbreck?TN: Maybe I had come across cairns and inuksuks when I was younger. In my early college years I was exposed to Richard Long, and after that I traveled and was out in nature a lot.

AD: What is the driver behind your art?TN: I think part of it is connecting with the environment, getting into nature, working to create something that is about place, material, form, and the process itself. I really enjoy being in that process, from going on walks, then spending time on the intervention and then documenting it. The responses people have are also important. I get pretty good feedback, so it seems that things I am doing are resonating. On my blog it says that my work is about the relationship between culture and nature, and I think I haven’t really explored that fully. The idea that culture, that I am culture, creating organic forms and bringing that to nature - putting the figure in the environment, that’s the idea. I haven’t fully resolved that aspect of it.

AD: You’re involved in the Southern Alberta Science and Art Collective- who are you working with?TN: I plan to meet with a retired geologist named Doug Patterson. The idea is to explore each other’s background and to collaborate in some way. I would like to learn more about geology to broaden my understanding of the earth and how the formation of the mountains, hills and coulees that surround us occurred. I enjoy exploring topographies in my sculpture so working with Doug will be a good opportunity.

AD: What’s in store for the future? What would be your ideal “magic wand” scenario? TN: Working with large format cameras, travel, experience cultures outside of this geographic area and exhibit installations or sculpture as a result of my experiences. Magic wand? Maybe I’d be showing alongside Long and Goldsworthy at the London Tate or Bilbao Guggenheim in 5 or 10 years. That would be good. AB

See more of Troy’s work at: www.troynickle.blogspot.com

Working in Tandem with NatureTroy Nickle is a prolific Lethbridge-based land/ environmental artist. Having studied at

both ACAD and the U of L, his current work focuses on the integration of culture and nature.

His work has shown in both Lethbridge and Calgary.

By Andy Davies, a Lethbridge-based artist

An Interview with

Troy Nickle

“There is definitely an aesthetic thing I strive toward when I create a work, but I consider it more of a gesture, or an event, that takes place.”

The Southern Alberta Community of Environmental Educators (SACEE) believes nature inspires art and art

builds awareness and inspires a love of nature in a unique way. Together, the art and nature partnership

is a powerful means to build our stewardship potential, and sustain an abundance of thriving special,

wild places! The mission of SACEE is to create inclusive, meaningful opportunities to learn and grow

from eclectic perspectives, forming respectful, collaborative, and cooperative partnerships.

SACEE connected art, science and nature in a big way through the Canadian Nature in Mind Arts Festival in

February 2008, where having fun building meaningful relationship with our neighbours and ecosystem

in an environmentally friendly way through the arts was the goal. With a core group of volunteers and

various sponsors including the Southwest Alberta Teacher’s Convention Association, six internationally

celebrated musicians from across Canada gathered in Lethbridge co-creating the Festival with over 200

local musicians, artists, actors, dancers, poets and volunteers, sharing their talent and inspiring over

2000 people from across southern Alberta. In May 2010 Paul Bohnert, Director of SACEE, was recognized

by the Global, Environmental and Outdoor Education Council of the Alberta Teachers Association with a

Merit Award for his work with the festival.

The ripples and returning waves of the Festival are big, and still being felt, with visiting artists keen to

participate in a second Canadian Nature Festival. In the future SACEE hopes to host a second Canadian

NatureFest with a good mix of local and international flavour. In the meantime they are planning the

Neighbourhood NatureFest; celebrating Special Places through the Arts in a 10-day guided discovery

experience. The events take place from October 10 – 20, and are being offered in conjunction with

the start of SACEE’s Neighbourhood Stewards and Nature Clubs mentorship program. For current

information visit their website at www.sayee.ca. AB

& The Arts go Hand in Hand for SACEE

Environmental Education

nature inspires art

ARTSBRIDGE 15

Frank Horvat, a Toronto-based pianist,

composer, and teacher recently performed

at the Lethbridge Public Library as a stop for

his Green Keys tour.

Green Keys is a 50 stop, year long cross-

Canada tour promoting eco-sustainability.

Horvat performs his original piano

compositions and improvisations; a mix of

classical and popular styles - from Liszt to

Satie to Philip Glass. The highlight of the

concert is the performance of “Earth Hour” -

a continuous 1-hour piano piece inspired by,

and performed in the dark.

A portion of the proceeds from the sale of

Horvat’s new CD, “A Little Dark Music”, go

to the World Wildlife Fund - CDs are still

available online. The Lethbridge stop of the

Green Keys tour was supported by Bullfrog

Power, Spirit in Motion Yoga, Lethbridge

Public Library, and Lethbridge Branch of

the Alberta Registered Music Teachers’

Association.

Horvat has taken steps to increase the

sustainability of the event by:

Lethbridge born, Calgary based musician and songwriter, Rob Ursel

recently entered his song David Suzuki, into CBC Radio 3’s Playlist for the

Planet. The contest was sponsored by the David Suzuki Foundation in

celebration of their 20th anniversary. Musicians were asked to submit

their original songs about the environment and over 600 entries were

submitted from across Canada. The songs were posted on the CBC Radio

3 website where the public listened to and voted on their favourites.

The top song for each province will be included on an upcoming CD,

David Suzuki’s Playlist for the Planet.

Votes were narrowed down to a list of five finalists for each province; and

Ursel’s song, David Suzuki was among the top five for Alberta. “A few

people approached me to enter the contest” said Ursel “they thought

the song fit in well with the theme.” The song is a tongue-in-cheek “poke

at apathy.” Ursel said he was motivated to write the song after watching

the evening news on TV: “all the news is these days is one disaster after

another, so I wrote the song to bring up some of the issues. But I didn’t

want to be preachy or whiny, so I chose to do it through humor.” The

song is set to a Hawaiian-esque melody.

Though Ursel’s song didn’t receive the top vote for Alberta, he was happy

to have his song chosen as one of the top five. He remains firm that

action should be taken to stop further destruction to the environment;

but also that our sense of humour and play should remain intact. “If we

lose that, we are recklessly tossing out an integral part of what makes us

human in the first place.” AB

Playlist for the Planet David Suzuki,

What is this world trying to do to me?

Will the sun burn a hole right through me?

Will a hurricane blow me away?

You can listen to Ursel’s song at www.reverbnation.com/robursel

To learn more about David Suzuki’s Playlist for The Planet visit

www.davidsuzuki.org

Green Key s Tou r

« Using concert venues powered by Bullfrog Power

« Not printing programmes at the concerts, but rather using a digital screen to display the programme

« Using sustainable and public modes of transportation as much as possible

« Packaging CDs on FSC paper using vegetable inks

« Offering download cards (made with recyclable plastic) instead of having to purchase

physical product

« Sheet music for sale is printed on FSC paper

« Ensuring public transit is available to all venues AB

For more information on the tour visit www.frankhorvat.com

16 ARTSBRIDGE

Lyrics by Rob Ursel

On July 10, 2010, the weaving community lost a great friend and

weaving companion with the passing of Marjorie Carlson. She was an

inspiring weaver, creating wonderful textiles that were then sewn into

classic garments. As a long time member of the Lethbridge Handicraft

Guild, she shared her enthusiasm for, as well as her knowledge of, the

art that she practiced so diligently. While best known for her creative

textile weaving, she tried all aspects of weaving from rugs to fine

table linens.

Marjorie was introduced to weaving at a community centre class in

the mid 1960s. She then learned to work on larger looms with her

husband’s uncles and aunt in the 1970s. Shortly after, she started

carding and spinning raw wool. She then joined the Taber Weaving

Guild, and later the Lethbridge Handicraft Guild. These contacts

allowed her to expand her weaving knowledge, and enabled her to

become deeply involved in the weaving community.

Moving to Lethbridge in 1989 enabled her to spend more time at the

Lethbridge Handicraft Guild and share her love of weaving. When

the Guild celebrated its 50th anniversary by designing the City of

Lethbridge Tartan, she was very involved in the design and weaving

process, and afterwards proudly wore her tartan skirt on many

occasions. She was also actively involved in helping plan and host

several provincial conferences in Lethbridge. She actively supported

the Handweavers, Spinners and Dyers of Alberta both as a member,

and as an attendee at the yearly conferences, but also serving as the

Southern Area Representative for many years.

Marjorie spent a great deal of time studying and being current on the

trends of her art. She had a great sense of colour, and was not afraid to

use it. The quality of her materials, her colour sense, and her dedication

to fine weaving were her hallmarks. She attended many regional and

international conferences to take workshops and meet other like-

minded artists. Many of her garments were shown at provincial and

international weaving shows. She shared this knowledge and these

experiences freely with others in the Guild.

While her family benefited the most receiving her creations, she

also shared them with the public through various shows as well as

through the guild sales. Many members cherish the pieces they have

that were woven by Marjorie. Her creativeness, willingness to share,

and her enthusiasm for her art will be missed by her many weaving

friends. Her legacy will live on. AB

In Memoriam:

Marjorie Carlson

A Weaver’s Life

By Frances Schultz

ARTSBRIDGE 17

You can listen to Ursel’s song at www.reverbnation.com/robursel

To learn more about David Suzuki’s Playlist for The Planet visit

www.davidsuzuki.org

« Using concert venues powered by Bullfrog Power

« Not printing programmes at the concerts, but rather using a digital screen to display the programme

« Using sustainable and public modes of transportation as much as possible

« Packaging CDs on FSC paper using vegetable inks

« Offering download cards (made with recyclable plastic) instead of having to purchase

physical product

« Sheet music for sale is printed on FSC paper

« Ensuring public transit is available to all venues AB

T h a n k y o u t o o u r e v e n t p a r t n e r s

Thank You

2010 AACE Awards ALLIED ARTS COUNCIL AWARDS OF EXCELLENCE

Business

Clear Sky RadioIndividual

Carol RobertsService Organization

Southminster United Church

Joan Waterfield Memorial Award George & Nellie Mann

LUNCHEON. . . f o r b u s i n e s s & t h e a r t s

MAYOR’S

Individual Members:

Aaron A. Keeling

Mike Judd

Wendy Lipinski

Cliff Yanover & Lynda Hartley

Ruth P. Christie

Jon Pryde

Todd Lacharite

McQuaid Family

Alyssa McQuaid

Rhianna Barron

Melissa Manieri

Matt Robinson

Sharin Peters

Jessica Ens

Len Komanac

Jonathan Legg

Karen Romanchuk

Tracy Somerville

Allied Members:

Lethbridge Community

Taiko Association

N.A.A.G

Wind City Kids Festival

Associate Members:

Rhino In The Room

Elusis Beads

Beyond Zed Gift Cottage

Lethbrige Masons Lodge #39

New Members: Feb 15/2010 – Sept 15/2010

AAC membershipCONTACT THE AAC OFFICE FOR A LIST OF BENEFITS & FURTHER INFORMATION

support the arts

NEW MEMBER RENEWAL

Name

Business (if applicable)

Address

City

Province

Postal Code

Telephone

Facsimile

Email

Website

Allied Organization $75*

Artist $25*

Associate $75*

Friend to the AAC $15

Family Friend to the AAC $25

I would like to make a donation of $

TAX RECEIPTS WILL BE ISSUED FOR DONATIONS

CREDIT CARD INFORMATION

Visa Mastercard

Total Donation and/or Membership amount

Card#

Expiry Date

Signature

CHEQUES ARE PAYABLE TO THE ALLIED ARTS COUNCIL OF LETHBRIDGE

I am interested in becoming an AAC volunteer

*Inclusion in 2011/2012 AAC Arts Directory

The Allied Arts Council (AAC) is a registered not-for-profit organization with

the mandate to advance the arts in our community. The AAC supports artistic

endeavours that enhance the quality of life for individuals and our community.

The organization is supported by its members, corporate and private donations

and annual fundraising activities. Support is gratefully received from:LUNCHEON. . . f o r b u s i n e s s & t h e a r t s

MAYOR’S

1 ARTSBRIDGE

calendar of eventsEmpress Theatre . . . . . . . . . . . . . . Emily Smith, BBC ‘Scots Singer of the YearOct 7 & 8, 8pm

Galt Museum & Archives. . . . . . . Galt Hospital 100 YearsUntil Dec 5, 2010

Archives Exposed... Towns AroundUntil Jan 30, 2011

The Fabric of British Home Children Until Jan 30, 2011

OktoberfestOct 15

Lethbridge Folk Club . . . . . . . . . . Howling Wolf Open Stage Oct 8, 8pm

Ray Bonneville Oct 9, 8pm

Howling Wolf Open Stage Oct 22, 8pm

Lethbridge Symphony Orchestra. . . . . . . . . . . . . . . . . . . . . Homecoming, with guest, Stewart GrantOct 9, 8pmSouthminster United Church

City of AngelsOct 18-20, 8pmYates Memorial Centre

Mueller Art Photography & Gallery . . . . . . . . . . . . . . . . . . . . . Robert Froese: Ceramics in the Japanese StyleUntil Nov 7

Playgoers of Lethbridge . . . . . . . “One for the Pot” Dinner TheatreOct 19-22Sandman Hotel

SAAG. . . . . . . . . . . . . . . . . . . . . . . . . On Your MarksUntil Nov 14

Welcome to My WorldUntil Dec 5

University of Lethbridge Art Gallery . . . . . . . . . . . . . . . . . . .

Art Gallery Open HouseOct 15, 10am to 1pmMain Gallery

Jamelie Hassan: At the Far Edge of Wordsuntil Oct 29Main Gallery

Shifting Mythsuntil Oct 24Helen Christou Gallery

Lethbridge National ParkOct 29 - Jan 14Helen Christou Gallery

University of Lethbridge Faculty of Fine Arts . . . . . . . . . . . . . . . . . . . . . Uncommon Women and Others by Wendy WassersteinOct 19 – 23, 8pmUniversity Theatre

The Good Egg by Michael Lewis MacLennanOct 28 – 30, 8pm,Matinee: 2 pm, Oct 30David Spinks Theatre

Vox Musica . . . . . . . . . . . . . . . . . . . U of L Ensembles Showcase Concert in honour of incoming president Dr. Michael J. MahonOct 5, 8pmUniversity Theatre

NOVEMBER

Bowman Christmas Sale . . . . . . . Lethbridge Artists Club, Lethbridge Handicraft Guild of Weavers, Lethbridge Society of Stained Glass Artists, Chinook Woodturning Guild, Oldman River Potters Guild, Textile Surface Design GuildNov 26, 10 am - 9 pm, Nov 27, 10 am - 4pmBowman Arts Centre, 811 5th Ave S

Empress Theatre . . . . . . . . . . . . . . Chic GamineNov 19 & 20, 8pm

Galt Museum & Archives. . . . . . . Galt Hospital 100 YearsUntil Dec 5

Archives Exposed... Towns AroundUntil Jan 30, 2011

The Fabric of British Home Children Until Jan 30, 2011

Adopt-an-Artifact FundraiserNov 1-30

Lethbridge Folk ClubHeather Blush and the UppercutsNov 6, 8pm

Howling Wolf Open Stage Nov 12 & 26, 8pm

Linda McRae with Ken Hahm Nov 27, 8pmAll shows at the Wolf’s Den

Mueller Art Photography & Gallery . . . . . . . . . . . . . . . . . . . . . Robert Froese: Ceramics In The Japanese StyleUntil Nov 7

Oldman River Potters Guild . . . . Christmas SaleNov 29 & 30, 10am - 8pmBowman Arts Centre

SAAG. . . . . . . . . . . . . . . . . . . . . . . . . On Your MarksUntil Nov 14

Welcome to My WorldUntil Dec 5

Trianon Gallery . . . . . . . . . . . . . . . Potemkin Artist Collective ExhibitionNov 20, 9pm openingTrianon Gallery and Le Petit Trianon Gallery

University of LethbridgeArt Gallery . . . . . . . . . . . . . . . . . . . Lethbridge National ParkOct 29 - Jan 14Helen Christou Gallery

Promising ObjectsNov 5 - Jan 7Main Gallery

Culture Vulture Saturdays: Button MakingNov 20, 10am - 5pmCentre for the Arts atrium

University of Lethbridge Faculty of Fine Arts. . . . . . . . . . . . Opera Around the WorldNov 5 & 6, 8pmUniversity Recital Hall

Glen Montgomery in RecitalNov 20, 8pmUniversity Recital Hall

Spring Awakening by Frank Wedekind Nov 23 -27, 8pmUniversity Theatre

U of L Wind Orchestra ConcertNov 26, 8pmSouthminster United Church

Vox Musica . . . . . . . . . . . . . . . . . . . Beethoven Symphony No. 9Nov 22, 8pmSouthminster United Church

Magnum Mysterium (collaboration with the U of L Women’s Chorus)Nov 30, 8pmSouthminster United Church

DECEMBER

Empress Theatre . . . . . . . . . . . . . . Tom JacksonDec 11 & 12, 8pm

Galt Museum & Archives. . . . . . . Archives Exposed... Towns AroundUntil Jan 30, 2011

The Fabric of British Home Children Until Jan 30, 2011

Lethbridge Folk Club . . . . . . . . . . Howling Wolf Open Stage Dec 10, 8pm

New West Theatre . . . . . . . . . . . . . GlitzDec 17 - 31Yates Theatre

Marooned with MunschDec 26 – Jan 8Sterndale Bennett Theatre

Oldman River Potters Guild . . . . Christmas SaleDec 1 - 3, 10am - 8pmDec 4, 10 am - 4pmBowman Arts Centre

SAAG. . . . . . . . . . . . . . . . . . . . . . . . . Welcome to My WorldUntil Dec 5

University of Lethbridge Art Gallery . . . . . . . . . . . . . . . . . . . Lethbridge National ParkOct 29 - Jan 14Helen Christou Gallery

Promising ObjectsNov 5 - Jan 7Main Gallery

University of Lethbridge Faculty of Fine Arts. . . . . . . . . . . . Birth of the CoolDec 1, 8pmUniversity Theatre

Classical Percussion ConcertDec 3, 8pmUniversity Theatre

Magnificat & MessiahDec 4, 8pm & Dec 5, 3pm Southminster United Church

october

november

december

of

ARTSBRIDGE 1

JANUARY

Galt Museum & Archives. . . . . . . Archives Exposed... Towns AroundUntil Jan 30, 2011

The Fabric of British Home Children Until Jan 30, 2011

New West Theatre . . . . . . . . . . . . . Marooned with MunschDec 26 – Jan 8Sterndale Bennett Theatre

Oldman River Potters Guild . . . . Stock Reduction SaleJanuary 27 & 28, 10am - 8pm January 29, 10am - 4pmBowman Arts Centre

University of Lethbridge Art Gallery . . . . . . . . . . . . . . . . . . . Lethbridge National Parkuntil Jan 14Helen Christou Gallery

Culture Vulture Saturdays: Prairie Ink DrawingsJan 15, 10am - 5pmCentre for the Arts atrium

A Little History on the PrairiesJan 14 - Feb 25Main Gallery

University of Lethbridge Faculty of Fine Arts. . . . . . . . . . . . Big Band CabaretJan 22, 8pmU of L Ballrooms (Students’ Union Building)

TheatreXtraJan 20-22, 8pm Jan 22 matinee 2pmDavid Spinks Theatre

Classical WindsJan 22, 8pmUniversity Recital Hall

SchubertiadeJan 27, 7:30pmLethbridge Public Library Theatre

Original BrassJan 28, 8pmSouthminster United Church

AbbondànzaJan 29, 6pmCoCo Pazzo Italian Café

Vox Musica . . . . . . . . . . . . . . . . . . . 2011 First rehearsalJan 11, 7pm U of L, W480

FEBRUARY

University of Lethbridge Art Gallery . . . . . . . . . . . . . . . . . . . A Little History on the PrairiesUntil Feb 25Main Gallery

Culture Vulture Saturdays: Print MakingFeb 5Centre for the Arts atrium

University of LethbridgeFaculty of Fine Arts. . . . . . . . . . . . Happy 50th Birthday LSO!Feb 7, 8pmSouthminster United Church

An Evening of Chamber OperaFeb 11 & 12, 8pmUniversity Recital Hall

The Seagull by Anton ChekhovFeb 15 -19, 8pmDavid Spinks Theatre

february

calendar of events

E m p r e s s T h e a t r e S o c i e t ye m p r e s s t h e a t r e . a b . c a

G a l t M u s e u m & A r c h i v e s g a l t m u s e u m . c o m

L e t h b r i d g e F o l k C l u bl f c . a b . c a

L e t h b r i d g e H a n d i c r a f t G u i l d o f W e a v e r s , L e t h b r i d g e A r t i s t C l u b , T e x t i l e S u r f a c e D e s i g n G u i l d , O l d m a n R i v e r P o t t e r s G u i l d & C h i n o o k W o o d t u r n i n g G u i l d 4 0 3 . 3 2 0 . 5 7 7 1

L e t h b r i d g e S y m p h o n y O r c h e s t r al e t h b r i d g e s y m p h o n y . o r g

M u e l l e r A r t G a l l e r ys t u a r t m u e l l e r . c o m

N e w W e s t T h e a t r e4 0 3 . 3 2 9 . 7 3 2 8

O l d m a n R i v e r P o t t e r s G u i l d4 0 3 . 3 2 9 . 3 9 3 6

P l a y g o e r s o f L e t h b r i d g e4 0 3 . 3 2 7 . 1 9 4 7

S o u t h e r n A l b e r t a A r t G a l l e r ys a a g . c a

T r i a n o n G a l l e r y 4 0 3 . 3 8 1 . 8 8 8 8

U o f L A r t G a l l e r yu l e t h . c a / a r t g a l l e r y

U o f L F a c u l t y o f F i n e A r t su l e t h . c a / f i n e a r t s / e v e n t s

Contact information for each event/organization:

eventsjanuary

Tanya Plonka www.tanyaplonka.com mailto:info@tanyaplonka.com 403.892.3540

Photo by Tanya Plonka.