May-June 2008 - Canadian Brushstroke Magazine

Transcription

7
May/June
2008
FREE SUBSCRIBE
TODAY!
Serving the Canadian art industry • www.brushstrokemagazine.com
Still Life/Floral
Competition
Winners inside
CANADIAN
BRUSHSTROKE
MAGAZINE —
PROUD TO
BE THE
OFFICIAL
MEDIA
SPONSOR
FOR THE
PORTRAIT
SOCIETY OF
CANADA’S
‘MIRACLE OF
THE PORTRAIT’
New Book:
‘EXPRESSIVE
PORTRAITS’
Shares Artist’s
Unique Mixed
Media
Techniques
Olaf Schneider
‘Open Book’
Mass-In Areas
To Simplify
The Painting
Process,
explains
Ontario
Artist
James L. Keirstead ‘Dalhousie Mill’
Publisher’s Corner
ow that Canadian Brushstroke Magazine is into its second year of
publication, I am reflecting on some of the excitement we had as we
were conceived and began to grow.
We have already spoken with and/or interviewed hundreds of artists who
we admire greatly and have formed friendships with some that I know will
last at least my lifetime.
We have given away thousands of dollars in cash awards to the
competition award-winners, and we are proud to have featured almost
30 artists who were finalists.
We have sponsored major art events like the Visual Arts Summit, and have
committed to being major sponsor for the Portrait Society of Canada’s
annual ‘Miracle of the Portrait’ event in December.
We have covered provincial, national and even some international art
events on our pages.
We have saved thousands of trees from being cut down because we don’t
print to paper.
These were our ‘baby steps’ and the thought of what will happen as we
grow older and stronger is so exciting and exhilarating.
We attribute our large subscription base after such a short time as being
thanks to our readers, who through word of mouth have brought our magazine to the attention of their friends and colleagues.
We attribute it to the advertisers who supported us from the very beginning,
and to the new advertisers that are rapidly coming on board to help bring
this product to the readers.
And we attribute it to the fact that we are covering Canadian artists - a lineup of talent that rivals any other country on earth. And we couldn’t be more
proud.
Thanks to all the artists, galleries, collectors, art material suppliers, etc. etc.
that played such an enormous part in our first year. We look forward to
working with you long into the future.
If you have any suggestions for coverage or input of any kind, please email
me or call me anytime at [email protected] or phone
780-986-0789.
contents
5 Competition
Winners
Olaf Schneider’s
‘Open Book’ wins
Canadian
Brushstroke Magazine Still
Life/Floral/Gardens competition
N
11 Western Artist
Jean Pederson
releases new
book on
‘Expressive
Portraits’
15 New Competition is
‘All About Light’
Send in your favorite subjects that portray
the effects of lighting (or lack thereof).
17
ARTIST
Get-Aways
Need a place to get away and
paint?
Check out two locations to check into if
you’re looking to get away and paint!
19 Mass In
Areas To
Simplify
PUBLISHED BY JENSU DESIGN
PUBLISHER: Susan Blackman
All material printed in this magazine, written or depicted, is protected by copyright of
this magazine and/or the artist, and cannot
be reproduced in any form without express
written permission from the publisher.
All views expressed are those of the
author and not necessarily those of
Brushstroke Magazine. Brushstroke
makes no recommendations as to the purchase or sale of any product or service.
2 • Canadian Brushstroke Magazine • May/June 2008
All letters or contributions to Brushstroke
Magazine are subject to editing with no
limits or liability.
JENSU DESIGN
Box 5483, Leduc, Alberta, Canada T9E 6L7
Phone: 780-986-0789 • Fax: 780-986-8393
E-mail: [email protected]
CANADIAN BRUSHSTROKE MAGAZINE
Box 3449, Leduc, Alberta, Canada T9E 6M2
Phone: 780-986-0789 • Fax: 780-986-8393
E-mail: [email protected]
www.brushstrokemagazine.com
Kingston,
Ontario
artist James
L. Keirstead says the painting process is
much easier if you start with large masses.
25 Industry News and
Information
?
Who’s showing where?
What competitions can you
enter? Who won awards?
Here’s where you look to find the answers.
Canadian Brushstroke Magazine • May/June 2008 • 3
letters...
The following is a continuation of an editorial issue covered in past issues.
To read the previous letters, click on the following links and go to Page 3:
http://www.brushstrokemagazine.com/issues/2008/lores/2008_01_lr.pdf
and http://www.brushstrokemagazine.com/issues/2008/lores/2008_03_lr.pdf
Dear Editor,
I would like to reply to the criticisms by Graham Flatt, Lloydminster, Alberta.
Disagreement is often a necessary part of a healthy and productive dialogue
and I thank him for writing to the Editor.
This is intended to be a clarification, not a personal attack/criticism as Mr.
Flatt seems to have responded with.
You said “shame on you”…I believe there is no “shame” to be had in being
honest. Surely there has to be a point in art, where a piece must 'speak for
itself'. It should not need defending or explaining and it should stand or fall on
its own merits.
Regarding “How dare you impose your obviously myopic opinion of excellence on the rest of us…” How, without having a better understanding of my
thoughts on such a complicated subject and having no idea of my ability to
debate this issue, you deduce, not only that my opinions are myopic, but that
this is “obvious” (to you) is beyond me.
You said “ just because Ms. Campbell chooses not to wallow in the abyss of
high representationalism or to subject herself to rendering recognizable subject matter to appease the coddled masses does not mean that her efforts are
not worthy of such praise ….” Is it your open-mindedness which allows you to
be so dismissive of “high representationalism“ and the “coddled masses” as
you so kindly lump and label the general public?
I find it hard to believe that anyone could seriously, and in all honesty, suggest that this simple graphic requires an "amazingly high degree of sophistication to create".... and that it "...pulsates...". It is what it is.
I don't believe any art form should be dismissed, be it abstract or photorealism, they are equally valid forms of expression; hardly a myopic viewpoint. My
comment was in part about the apparent calibre and talent required for a specific piece of work and an award which I felt was not in line with the work.
If anything is pronounced to be great by the right people (especially when the
right context is factored in... where it is shown), there will always be some
people willing to see and support it as been great, regardless of the merits of
the piece.
You said “Are you really that naive to suggest that a painting must have a
degree of representationalism to be successful, that abstract art cannot be
terribly complicated?” I made no such reference or implication to a relationship between the success of a piece and the degree of representationalism.
You said “perhaps the jurors were looking for something different. Should this
be of any consequence in any case where the piece was not particularly good
or strong? I think all artists exhibiting their works in competitions should be
concerned the day that what the jurors are ‘looking for’ becomes a factor.
Please don’t confuse this point as my playing judge and jury defining good
and bad art.
It appears to me, that more often than not (at least with those pieces of work
which receive mass media attention and coverage…abstract or not), that
philosophical verbiage rules the day. The public, receiving much of the information it gets from all parts of the art establishment, then has to factor this
spin into their understanding.
I am in complete agreement that public dialogue is what we need.
David Howells
Nova Scotia
STILL LIFE/FLORAL COMPETITION
e are very
pleased to
present to
you the Grand Prize
winner of $1000 and an
award-certificate, and
eight finalists who will
receive finalist certificates for their portfolios.
Every issue we have
increasing numbers of
entrants and it makes
the decision tougher.
This month, there
were several other
paintings that were
really close to being in
the finalist category, so
we encourage all artists
to keep trying. Perhaps
next time your painting
will be featured.
W
Grand Prize Winner
of $1000 CDN and award certificate:
OLAF SCHNEIDER, Etobicoke, Ontario
Open Book, Oil, 20 x 30”
ost people wear a mask,” says Olaf
Schneider. “They want others to see
them in a certain way.
This is why it is better to be transparent.
Allowing others to see us as we are is risky.
However, as we practice humility, we can
enjoy freedom and allow others to know our
true inner selves - therefore remaining as an
"Open Book."
Olaf experiments with a variety of subjects from Canadian landscapes and canoe
scenes to paintings of glass, light and water.
M
Schooled at the Ontario College of Art,
Sheridan College, Olaf resides in the Toronto
area. His paintings are widely exhibited in
Toronto, Quebec, Alberta and throughout
North America, as well as in Germany, the
Netherlands and Italy. He has also been
heralded with honors in International Artist
Magazine.
For more info about Olaf Schnieder, see
page 8, and visit the artist’s website at:
http://www.olaf.ca or email him at:
[email protected] .
Finalist
Receives award
certificate:
MINA DELA CRUZ,
Toronto, Ont.
Speckled Eggs,
Oil, 9 x 12”
painted this still life because I
was drawn to the textures and
shapes of the objects,” says Mina
Dela Cruz. “I enjoyed the technical
challenge of achieving the look of
brass, and the roundness and
smoothness of the eggs.
Originally from the Philippines, Dela
Cruz immigrated to Canada in 1977.
She paints at the Adelaide Street
Studio, a co-operative of realist
artists in downtown Toronto.
Although Dela Cruz attended various schools to strengthen her drawing skills, in painting she is mainly
self-taught.
As a contemporary fine artist, Dela
Cruz specializes in still life and portraiture. To see more of her work,
you can check out her website at:
www.adelaidestreetstudio.com .
I
Finalist
Receives award certificate:
MICKIE ACIERNO, SFCA
Nanaimo, BC
Table Talk, Oil, 20 x 30”
or this painting I was
inspired by the grapes,
magnificent in their beauty,” says Mickie Acierno. “Even
the missing grapes tell a story of
irresistibility. I’m always fascinated by reflective surfaces and
the sugar bowl was the perfect
partner, certain to cause some
table talk.”
Acierno creates art every day in
her studio in Nanaimo, B.C.
Enamored with light and shadows she strives to capture the
energy from within her subjects.
Acierno is passionate about her
art. She says her greatest
reward is when her art touches
the viewer in a way that evokes
emotions or feelings. Acierno's
works can be found in galleries
and private collections throughout North America. You can see
more of her work at
www.mickie.ca , and you can
email the artist at
[email protected].
F
Finalist
LESLIE PARKES, SCPWC
Bowmanville, Ont.
Blireana Blossom, Watercolor, 29 x 23”
The staff and management at Canadian Brushstroke
Magazine are extremely sad to share the news that
Leslie A. Parkes passed April 28, 2008. This is the
second painting that Parkes has had in the finalist
category in a Canadian Brushstroke Magazine competition and we are proud to have been able to share his
work with you.
hen Leslie Parkes retired from a
career in advertising in 1989, he
applied for membership in the
Canadian Society of Painters in Watercolour
and was a member since then.
His work earned him numerous international
awards and has been exhibited in galleries
across Canada, the United States, and
Mexico.
To view more of Parkes’ work, visit his
website at www.watercolours-parkes.com .
W
Finalist -
JULIE DONEC - Burlington, Ont.
Savage Cabbages, Acrylic, 24 x 36”
'm a fine artist, art instructor, and an
avid gardener,” says Julie Donec.
“The plants were originally given to
us as a gift by our neighbor, and they
grew to be about the size of the image;
they are really quite enormous and in
my opinion, magnificent.”
“The image of the cabbages was under
painted in acrylics, in layers of Burnt
Umber and a very small amount of
Phthalo Blue. I liked the dense, cool
effect the under-painting gave, and I
laid a subsequent glaze of pinks
(Alizarin Reds mixed with Zinc White),
and delicate greens (Cadmium Yellow
Pale and Cyan mixed with a Chromium
Oxide Green), and laid these on top of
the under-painting to finish the piece
off.” For more information, see her
website at www.juliedonec.com .
I
Finalist
CINDY REVELL,
Sherwood Park, AB
Tipsy,
Oil, 12 x 9””
t was the long, lean shape of this pear that interested
me and after spending a lot of time with various props
and compositions it seemed simplicity would emphasize
its shape the best,” says Cindy Revell. “The little Chinese
teacups with one tilting one way and the pear tilting the
other suggested a rather humorous and somewhat human
contrapposto pose. Besides composition, light is always a
primary consideration for me.”
Cindy has been a professional illustrator for over 10 years
and has been oil painting for six years. She is a GovernorGeneral nominee for children's book illustration and her
work has been extensively published all over North
America while her oil paintings have been exhibited in
juried shows, a museum and galleries in Canada and the
US. "I couldn't be happier living an artist's life."
To see more of Cindy's work visit www.cindyrevell.com .
She can be contacted at 780-662-3088 or
[email protected] .
I
COPYRIGHT
Olaf Schneider was the winning artist
for his painting Open Book on the
cover of this issue. This painting,
Timeless Memories, has also been
recognized as a finalist.
s time passes, we are
always learning,” says
Schneider. “Sometimes
learning from others what to do is
as important as learning from them
what not to do. All we need to do is
keep our eyes and ears open. I felt
that this image expressed the idea
of memorable time. Time that will
not come back. A question that
comes to mind is, ‘What are we
doing to contribute to the lives of
others with our time?’”
“I like to use expressive and thick
impastoed brushstrokes or soft,
blended strokes to render a sense
of movement and texture, giving
the painting a life of its own. My
interpretation of color also sets the
dynamic mood. The tones often
range from the darkest to the lightest in an effort to achieve maximum
drama.”
For more info visit the artist’s
website at: http://www.olaf.ca .
A
Finalist - Receives award certificate:
OLAF SCHNEIDER,
Etobicoke, Ontario
Timeless Memories, Oil, 40 x 60”
Finalist
Receives award
certificate:
LAURA LEVITSKY,
Chilliwack, BC
Autumn Frost,
Acrylic, 11 x 14”
t amazes me what can be found in
a single square foot, which gave
me the idea for Autumn Frost,”
says Laura Levitsky.
“I am determined to include the smallest of details in every painting and I
look for it when I am thinking of a
composition. I believe it captures the
whole story and essence of the subject. It is with this challenge that I get
satisfaction."
"I am a self-taught artist who grew up
in Saskatchewan and moved to
British Columbia in 1989. It wasn't
until the fall of 1999 that I took a
career change and settled into my
passion for painting. I began building
a portfolio, becoming self-published
with limited edition giclee canvas
prints by 2003. My prints can be
found in private collections across
Canada and the United States.
I am an outdoor enthusiast whose
walks and hikes are not as brisk as
most might travel. I cannot help but
gaze at every color, shape and texture that nature has on her everchanging palette.” Levitsky’s website
is www.levitskyart.com .
I
Finalist
MARILYN MILLS, Sault Ste. Marie, ONT
After the Rain, Watercolor, 13 x 22”
ne day after a rain I was walking down our driveway
which was beside Lake Superior and had beautiful
maple trees along the sides. The leaves and colors
were so vibrant, still dripping with rain. Suddenly, several
chickadees landed on the branches. They were so chirpy and
happy. I guess they were happy the rain had stopped, too,”
says Marilyn Mills. “I took some pictures of the leaves and
managed to get some chickadee pictures. I couldn’t stop
thinking about the scene and
felt I had to try to paint it. I
was very happy with the
results and the painting gives
me much joy.”
“I have been painting for
approximately 15 years.
I originally painted in acrylics
but switched to watercolors
because I fell in love with the
overall look of this medium.
The challenges working with
watercolor have been exciting,
very rewarding, and never
cease to amaze me.”
For more information about
Marilyn Mills’ work, you can
contact the artist at
[email protected] .
O
Susan Abma
Susan Abma
Johnson Gallery
7711 - 85 St., Edmonton, AB
• 780-465-6171
• www.johnsongallery.ca
Cindy Revell
10• Canadian Brushstroke Magazine • May/June 2008
Anne McCormick
WEST (Yukon, Alberta, B.C.)
LOST IN THOUGHT • Watercolor, 16 x 20”
NEW BOOK: shares artist’s
unique portrait techniques
Jean Pederson's
'Expressive Portraits Creative Methods for
Painting People' is on the
shelves of bookstores
across the country.
algary mixed media artist Jean Pederson has added
a new achievement to her impressive repertoire that
includes dozens of awards, being published in several publications, teaching, and more. The latest accomplishment is her new book, Expressive Portraits - Creative
Methods for Painting People, published by North Light Books.
"When they first talked to me they asked me to submit a
proposal. From that point, I continued planning exhibitions
and workshops and then, all of a sudden, it happened!"
C
Canadian Brushstroke Magazine • May/June 2008• 11
The following
are comments
from Vanessa
Lyman, who was
Jean Pederson’s
book editor and
the managing
editor of North
Light Books.
STATE OF GRACE • Watercolor, gesso, India ink and pencil crayon, 16 x 20”
The approval of the proposal took several years. Once it was
approved, however, Pederson said it was extremely hectic
because she heard about the approval in February and the
entire book had to be completed and returned to the publisher by
December. (See publisher’s comments in sidebar at right)
Then, there were lots of editing deadlines and the book went
back and forth for many months.
"I got an advance copy last October (2007). The book came
out at the end of November, and it was available in stores
after Christmas."
Pederson is thrilled with the positive response she's receiving. "I've had lots of people email me from all over North
America. It is something they can relate to."
"It was never my intention to someday write a book," she
says. But when Pederson was asked to submit her proposal,
she decided that she should focus on portrait and figurative
work, for which she had often received awards in the past.
"I looked at this as an opportunity and experience that I'm
very privileged to have. I sure hope people enjoy the information and the images. It makes me feel good if somebody gets
something out of it."
Pederson, who also writes for, among others, the Artist's
Magazine, says she writes "because I love what I'm writing
about, but also because I love connecting with people."
She's always loved the arts. "I was the kid in junior high who
always worked on the posters. I always enjoyed that and spent
hours doing it."
Her love of art made her want to get a Bachelor of Fine Arts
degree. "My parents grew up in the '30s and were not really
supportive. They had never heard of successful artists - they
knew of the 'starving artist.'"
So, she got two degrees from the University of Calgary - a
Bachelor of Education (major in fine arts), and a Bachelor of
Physical Education.
• Why was Jean Pederson chosen to
write a book for North Light?
Jean’s work is incomparable.
Regardless of medium, every artist
wants to paint people, so we’re
always on the look-out for artists
who can paint people and, even
more importantly, teach others to
paint people. Jean had both of
these qualities. But it was more
than that - her portraits are always
intense and sometimes searing.
Regardless of age, gender or race,
Jean was able to catch the person’s soul, and make it luminous.
• How does this book fit into your
impressive line-up of fine art books?
It fits in well! As far as the medium, we consider it a watercolor
book that isn’t afraid of other
media. As far as painting subject
matter, we consider it a people
book with power.
• How are the sales doing to date?
I can’t quote you numbers, but I
can certainly quote you passion:
we’ve had very strong, positive
reactions from readers.
• What was it like to work with Jean
on this book?
Jean’s a professional. Making a
book is not easy, and demands a
lot of attention, commitment and
time. Jean threw herself into it,
mastering photography and the
sometimes counter-intuitive
process of breaking down the
very personal process of painting.
She was really great to work with.
Jean’s also a serious Canadian.
Because of her, my life will not be
complete until I’ve been to the
Calgary Stampede.
SILK-WRAPPED • Watercolor, 16 x 20”
"I felt like I beat the system. I got my two degrees
and got to do my art."
For a time she worked as a teacher for the Calgary
School Board. "I ended up painting more and teaching less and less."
She now teaches art at the Alberta College of Art &
THE SCARF • Acrylic, 14 x 14”
Design, and is definitely not a 'starving' artist. And,
her parents are very supportive. "I think they're so
proud of me. Had they known there was any way to
make a living this way, I know they would have
encouraged me."
A turning point in her art career came as a result
of something a workshop instructor (Joyce
Kamikura, SFCA, NWS) told her class about their
paintings one day. "She said to us, 'Your artwork all
looks the same.'”
“We didn’t have our own voice or identity in our
work. Upon reflection, I thought, ‘Who am I and how
do I want to communicate?’"
Another influence in her art came from Doris
McCarthy (CM, O.Ont., RCA) who said in a talk,
"Where is your story? I can't see your story."
So, Pederson buckled down. "I thought, "What
have I got to lose?" And the results have proved
that she went in the right direction. She has won
numerous awards and accolades for her work,
including the opportunity to write her book.
If you want your work to have pizzazz, she says,
"Take risks - maybe the light, maybe the quality of
the brushstroke, maybe the daringness."
"You have to soul-search. There's no easy answer.
It's really about who you are, how you express
yourself. It's a reflection of your personality, your
identity."
"Go to national museBlue. "It's tough to find a
ums and buy beautiful
cool, transparent blue
art books by artists you
so I go towards Phthalo
respect. Learn art histoTurquoise (she feels
ry - what's gone before
that Cerulean is a bit
and where you fit in."
chalky but uses it someAlthough Pederson
times). It's not exactly
tends to stick with
what I want, but someWinsor Newton, Daniel
times you have to comSmith, and other paints,
promise to fulfill your
she says that it's not
objectives."
necessarily the brand
"Basically I use a warm
name that's crucial, but
or cool with others help"what's important is to
ing out. I'd just as soon
use a paint that has a
not use the cads
good reputation." This
(Cadmium colors)
means consistent good
because they are toxic."
quality and good value,
As for brushes,
she adds.
Pederson generally
Sticking to what you
prefers Kalinsky sables
know is important to
for her watercolor work.
ensure consistency in
"They hold the water
painting. "When I paint I
and lift up the water
want to understand my
really well."
materials so well that I
For acrylics and oils
don't even have to think
she says she's more
about it."
likely to use man-made
"For example, in
or hog hair brushes and
watercolor you recogoccasionally will even
nize the properties of
use one of her watercolthe pigment more so
or brushes.
than acrylics and some
"It's all 'what if.' What if
HARLEQUIN • Watercolor, gouache, gesso, gold leaf and matte medium, 20 x 16”
oils. It floats around on
I twist, what if I adjust
the paper and influthe pressure..."
ences your designs more. Each layer isn't sealing like it
For her watercolor and mixed media work she often
is with acrylics or oils."
uses Arches, Winsor & Newton or Fabriano papers "Some pigments layer well and some have a breaking
usually 140 lb, medium rough or hot press. For acrylics
point and get chalky. It's like spices in your cupboard."
and oils she likes canvas or board. "It's nice that you
"Each person is going to have his/her own reasons for
can scrub a bit aggressively on the board - it's not that
the colors in their palette. I can tell you what I use, but
it's really aggressive, but it's more being willing to take
there are strengths and weaknesses to everyone's
risks. I'd rather try to have an exciting painting than setpalettes."
tle for a nice painting."
Pederson uses a warm and cool, transparent version
"You have to try to figure out what's not feeling right
of red, yellow and blue. "Then I throw in some opaques
and you might have to paint out your favorite area to
and sedimentary colors to support that.
make it a better painting - or rip it out and change it into
Some of the colors she does like include Aureolin,
something else. Otherwise it'll never be a great paintScarlet Lake (a transparent, warm red), and Winsor
ing. It'll just be a good painting with a nice part to it."•
JEAN PEDERSON's work is in many
collections world-wide. Her most recent
awards include the Mario Cooper and Dale
Meyers Medal - American Watercolor
Society 141st International Exhibition in
New York, and a Certificate of Honor with
Medal from the Jiangsu Watercolor
Research Institute in China. Her work has
been published in the Daniel Smith
International 2009 Catalogue, the Artist's
Magazine, Watercolor Artist Magazine,
Canada's Who's Who, International Artist,
among others. She teaches at the Alberta
College of Art & Design, hosts workshops
at Red Deer College and has been in
many solo and selected exhibitions. For
more information about this artist, visit
www.jeanpederson.com .
CALL
FOR
ENTRIES
‘All About Light’
Competition
We want to show off Canada’s
artists, and our competitions
will offer us a chance to do
that!
Be sure to enter your artwork
in our competitions - not only
do you have a chance to win
$1000
CDN
Competition No.
All About Light - Artists’
Subject
Medium
Entry Fee
Entry deadline
plus an award certificate,
but we also get a chance to
see your work and we just may
feature YOU
in an upcoming issue of
Canadian Brushstroke
Magazine.
4
favorite subjects showing the
results of light (or lack of it)
Two dimensional drawing
or painting medium
$15 each
(You can enter as many
works as you would like)
July 31, 2008
*Winners and finalists will be featured
in the Spet/Oct issue of Canadian
Brushstroke Magazine
RULES — HOW TO ENTER
DIGITAL FILES ONLY
Enter with high res digital file only on CD only. Do not send digital
images via email to our offices - they
will be automatically disqualified. You
must print off the entry form on next
page, complete it, and send it along
with your CD and method of payment. If you have more entries than
the space allotted, please print
another form and fill it out complete-
ly. All CDs must be labeled with the
artist’s name, the number of entries
on the CD, each of their titles and
this issue’s Competition Number. All
files on the CD must be labeled as
follows: lastname/firstname/Entry No.
Example: John Smith’s Entry No. 2
would be labeled smithjohn2.
ELIGIBILITY
This competition is open to any artist
with residency in Canada. All work
must be original, not copied from any
other artist’s work, photographer’s
work or published work of any kind,
and must have been completed in
the last two years. The work can not
have won previous awards or any
distinction of any kind. No works created under supervision are eligible.
We reserve the right to refuse any
entry, or ask for source material at
our discretion.
RULES — HOW TO ENTER (CONTINUED)
ENTRY FEE/DEADLINE
The DEADLINE for Canadian
Brushstroke Magazine to RECEIVE
entries is July 30, 2008. You cannot
courier material to our box number, so
be sure to send it in plenty of time
(Address is on submission form
below). The fee per entry is $15 CDN,
which can be paid by VISA, cheque or
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16• Canadian Brushstroke Magazine • May/June 2008
ARTIST
Get-Aways
This section is not an endorsement of any of the locations, but just for
informational purposes and all artists must do their research before
booking travel destinations. We will provide this space for retreat locations periodically when we have enough on file. If you wish to send
information about your Artist Get-Away, please email it to [email protected] and put the word RETREAT in the subject line.
Please remember that this is not space for workshop information, etc.,
but only for location information.
The retreat I offer to artists is a private one - a rustic, comfortable, rental
cabin with a functioning, small studio, on Whitestone Lake, 45 minutes
north of Parry Sound, ON.
Features include:
•
all cedar construction
•
a 10' x12' studio with lake view,
•
one compact bedroom with double bed,
•
a sofa bed,
•
a private, shallow beach perfect for young children,
•
a firepit,
•
a sofa swing
•
an outdoor shower,
•
an 8' x 12' deck for eating or sleeping under the stars
•
two kayaks for journeys to the beaver dam, to get ice
cream and a newspaper, or for lake exploration
•
a fully equipped kitchen
The long lake views are arresting as the clouds fly towards one from the south west;
the country roads, vintage farm buildings, lakes, creeks, waterfalls, and villages of the
Near North provide an ample variety of inspiration.
For more information: [email protected]
We would like to welcome you to our little piece of heaven
in the beautiful sunny Okanagan region of British
Columbia, approximately half way between Vernon and
Kelowna on the Westside of Lake Okanagan.
Our accommodations consist of: The Artisan Room with
Queen Bed, decorated in breezy blues & greens; and the
Safari Room with Queen Bed, decorated in rich brown,
gold and orange hues. Both bedrooms share a large full
bath with double sinks & enclosed toilet as well as a sitting
room. We have several patio areas, one with a water
feature as well as flower & vegetable gardens.
Our B&B can accommodate a small group of up to 6
people if the sofa bed in the sitting room is utilized.
For more info & photos:
Website: www.bbcanada.com/10890.html
Email: [email protected]
Perfect for elementary schools,
resident & day camps, youth
groups, child care facilities….
Six totally different art projects, each
with all the necessary supplies,
instructions and samples to help you
teach children how to create
their own masterpieces.
Classes available for 10, 20 or 30
young artists.
Many of the supplies can be reused for
future projects and restocking of used
items is available.
All projects follow the current elementary
school curriculum.
CLASSES AVAILABLE:
Plaster Mask Making Kit
(Each artist will make a timeless
memory of their own face!)
Sculpture Fun
(Embellish a picture frame with relief
sculptures!)
Drawing Exercises
(Over 6 different drawing projects!)
Sticky Art Fun
(Using adhesive colored shapes, create
a stained glass effect!)
Foam Printing Kit
(Make custom greeting cards and lots
more!)
Learning about Colour
(3 Exercises to learn how to mix
colours)
Sold exclusively through:
Artra Art Supplies
Co. Ltd.
For prices and more information,
please call toll free at
1-866-ART-8500
EAST
(Ontario, Quebec)
Outdoors makes
on Ontario artist
Mass in areas to simplify the painting process says
Kingston, ON artist JAMES L. KEIRSTEAD
ABOVE: MISTY MORNING TRILLIUMS • Oil, 24 x 16”
BELOW: DELPHINIUMS • Oil, 20 x 30”
t's not hard to see where oil
painter James Lorimer Keirstead
gets his inspiration. As he is interviewed, he glances often with binoculars to view birds on his 83-acre
riverside property in Kingston, ON.
I
From the deck he can see a 2-km
bay.
The outdoors inspires all his works.
Although his paintings don't feature
birds, he knows them all by sight and
has a platform for Osprey to nest on
and a home for Purple Martins, who
visit every year. The morning of this
interview, he sees the 'scout' check
out a Purple Martin home for later
inhabitance, and there are a few
sticks on the Osprey platform, so he
hopes they will choose to nest there.
His paintings occasionally feature
wildlife, and more often, nostalgic,
romantic, idealized heritage scenes
and buildings.
Keirstead’s original works hang in
more than 1000 private and public
collections world-wide, and he has
sold an estimated two hundred
thousand prints so far in his career
as a visual artist.
At 75 yrs. of age, don't call him
semi-retired. He scoffs at that.
He is in excellent physical condition, doing a half-hour work-out and
a half-hour racing swim in his own
pool every morning before he starts
his day - something he's been doing
for many years.
And he hasn't stopped working
either, but his production has
decreased.
SUNBURY BARNS • Oil, 18 x 27”
"I'm 75. I still work all the time. I just don't have the same
energy I used to. I takes me longer to do it. I used to stand
and paint more than 10 hours a day."
But, he believes that he is now painting his best ever and
he has more commissions these days, painting clients’
estates and their favorite places.
In the early stages of his art career, he was sometimes
producing more than one painting each day. He still paints
more than 50 paintings each year.
He’s had about a hundred one-man shows in places like
Toronto, ON; Montreal, QC; Florida; Scottsdale, AZ; and
New York, NY.
Keirstead opens his impressive home for a show every
May. This year it started May 3 and will continue for two
weeks. He says his guests love coming to his property,
which has five acres of mowed lawn, a six-foot high mill, a
river running through it, a pond, and other attractions that
they enjoy.
His mother used to tell people that he announced to
everyone at 6-yrs-old that he would be an artist. In 1958
he went to a high school night class for a year. He was so
proficient that the second year, students in the class asked
Keirstead to teach them.
He served in the Korean War and later was a member of
the Ontario Provincial Police (OPP) from 1954 to 1965. He
left the OPP in 1965 to paint full-time - a decision he
couldn't be happier about. He now serves as Honorary
Inspector and Art Adviser to the OPP.
From 1965 until about 20 years ago he painted in a studio away from his home, but since then he has painted
from his home studio. It is 24 x 37 ft., and is above his
garage, overlooking an 1850’s stone homestead.
In the studio, he has everything built-in. There is a 4 x 6
ft. sheet of plywood, hinged at the bottom that he puts his
work on so that he can lower it or tilt it to different angles.
"Most of the paintings I do are 2 x 3 ft., although some are
up to 4-5 ft. across."
There is a built-in bench that holds his four painting
palettes. "I keep switching to keep clean paint. "
There are spotlights above his palette bench and easel.
When painting, "I usually start with the sky. I do almost
everything with a knife, with texture - sharp, square texture. I do more with putty knives than painting knives. I like
ridges."
He uses small, soft, sable brushes for fine detail work
only to enhance the focal points. He will also use anything
necessary to achieve the effect he's looking for. For
instance, the sharp edge of a piece of paper bent to the
right angles and then dipped in paint can be the perfect
tool to do the lines that support a mast of a boat.
"Anything that works, I do it," says Keirstead.
Most of his paintings are done on standard hard board
(masonite). He scuffs up the smooth side with medium
sandpaper, and double primes both sides of the board with
acrylic gesso. He believes priming both sides is important
to seal the board. "I think it's more permanent." He paints
on the smooth side of the board.
Keirstead feels a solid drawing is important. He does a
charcoal drawing first, and then, as he stresses when
teaching, he lays in masses of paint.
DALHOUSIE MILL • Oil, 12 x 18”
Students, he says, "need to think of getting their shadows drawing faults before the artist spends a lot of time trying
in thinner and massing to simplify. Then paint over, with
to fix a bad painting.
thicker paints, all your midtones and lights and highlights.
And be clear what direction you want to go in as an artist,
You'll need a little more detail on your focal point. I like
he says. "If you want to sell and survive, you'd better paint
impressionism and I try to make my paintings more
some things people like. And keep painting. You can't just
impressionistic."
do a few paintings and then sit back and hope to sell
He prefers Winsor & Newton and Stevenson paints. His
them. Painting is work. You've got to put everything you've
usual palette consists of Titanium and Zinc White,
got into it."
Cadmium Yellow Light, Cadmium Yellow Deep, Raw
"You're only going to get boom years every so often,
Sienna, Quinacridone Rose and Quinacridone Magenta,
so be ready (have lots of paintings). Do 'street shows'
Burnt Sienna, Raw Umber, Burnt Umber, Ultramarine and
or whatever you can do to get exposure. Don't just
Cerulean Blue, Viridian Green, and Paynes Gray.
rely on one gallery. Find two or three galleries that
Keirstead currently teachhave a market for your
es occasionally at the
work."
JAMES
Kingston School of Art as a
Enjoyable as the 'job' of
KEIRSTEAD’S
volunteer. The students are
painting
is, Keirstead
work can be seen
charged for the classes and
says,
"There's
nothing
at his studio in
the money all goes towards
easy
about
it."
His
Kingston, at
the school.
greatest
joy
as
a painter
Crescent Hill
He stresses something he
comes
from
collectors
Gallery in
feels will improve every
who keep returning to
Mississauga, and
artist's work. "This is imporpurchase his work. He
at special showtant - when you're finished
has a collector who has
ings. For more
drawing, hold it up in the
amassed 50 of his
information about this artist, visit www.jameskeirstead.com .
mirror." This will expose the
original works. •
Canadian Brushstroke Magazine • May/June 2008• 21
Get outside and paint!
“The Banff Easel”
(Canadian and USA patented)
SIT ON IT! STAND BY IT!
Watercolors, acrylics, oils,
pastels, drawing and more!
And when you’re finished, pack all your
supplies together and roll it home!
Made of strong Canadian Fir,
this unique easel allows the artist the
choice of sitting or standing
while doing their artwork.
The handy storage compartment
holds all necessary supplies and the
detachable “wing” tables make for easy
access to your mediums while you work.
Adjustable front leg allows for accurate
balance on uneven ground and
tested for individuals up to 250 lbs.
Sold exclusively through:
Artra Art Supplies Co. Ltd.
For more information,
please call toll free at
PERFECT FOR BOTH
INDOOR AND OUTDOOR USE!
Each $350.00 Canadian
(+gst + S&H).
Please allow 6-8 weeks for delivery.
1-866-ART-8500
Pictured below: Canadian artist Jack Ellis demonstrates the Banff easel
MARITIMES
(NFLD/Labrador, PEI,
Nova Scotia, New Brunswick)
Newfoundland and Labrador
artists awarded by NLAC
The Newfoundland and Labrador Arts Council (NLAC)
presented three visual artists with awards at its 23rd
annual Arts Awards Show and Gala last month at the
Reid Theatre in St. John’s.
The annual arts awards honor the accomplishments of
Newfoundland and Labrador’s artists.
The winners include:
ArtsSmarts Arts in Education Award: Dorrie Brown art educator in theatre, visual art and music (Happy
Valley-Goose Bay)
CBC Emerging Artist Award: Mary Ann Penashue visual artist (Sheshatshiu)
Hall of Honour Award: Gerald Squires - visual artist,
Holyrood and the Newfoundland Writers’ Guild - arts
organization, based in St. John’s
“This year's winners and all the finalists provide us
with striking examples of the diversity and intensity of
arts activity in our province,” said NLAC Chair
Camelita McGrath. “That's what these awards are all
about - recognizing and valuing the creativity and
commitment of artists whose work enriches our lives
every day."
Nominations for the awards are submitted by the arts
community, arts organizations and the general public.
Winners of the Artist of the Year and Arts in Education
awards receive a $2000 cash prize and a piece of artwork. Inductees into the Hall of Honour receive a
framed certificate.
Welcomes this month’s new advertisers:
Gamblin:
and
PLEASE SUPPORT OUR ADVERTISERS - THEY HELP US SEND OUT
THIS MAGAZINE AT NO COST TO YOU.
Tracey Mardon
Margaret Klappstein
Johnson
Gallery
7711 - 85 St., Edmonton, AB
• 780-465-6171
Susan Abma
news & information
BRITISH COLUMBIA
Petley Jones Gallery (Vancouver), Until May 22: Duncan
Regehr’s latest painting series "Magic." The series alludes
to transformation, illusion and the unknown. (Image at
right)
.......................
West End Gallery (Victoria) May 17 -May 29: Collection of
paintings by Glen Semple.
.......................
Vernon Public Art Gallery, Until May 30: UBC BFA
Graduation Exhibition.
.......................
Artworks Gallery (Vancouver), Until June 7: The current
exhibition by acclaimed artist Ken West entitled
Vancouver, West explores day to day life in this fair city.
He depicts Vancouver neighbourhoods, side streets,
driveways and the places people pass everyday and perhaps fail to notice. West allows us to take a look at what
we're missing.
.......................
Art Beatus Gallery (Vancouver), Until June 27: Emotive
and moving landscape works of Vancouver-based artist,
“Solo Works of Shyh-Charng Lo," oil on canvas paintings
of Vancouver’s ocean, mountain and sky.
ALBERTA
Wallace Galleries (Calgary) Until May 15: 'Big Canvas
Show!' Large works on canvas by artists: Alain Attar, Brian
Atyeo, Jane Brookes, Rod Charlesworth, Teresa Cullen,
Greg Edmonson, Ted Godwin, Joice M Hall, Greg Hardy,
Jennifer Hornyak, Brent Laycock, Robert Lemay, Kenneth
Lochhead, Robert Marchessault, Linda Nardelli, Rachel
Ovadia, Don Pentz, Andy Petterson, Jim Stokes, Mikel
Temo Greko, Shannon Williamson, and Diana Zasadny.
.......................
Agnes Bugera Gallery (Edmonton) Until May 22: ‘Core
Samples by Vancouver-based artist Scott Plear.
DUNCAN REGEHR • Ventriloquist II, Oil, 30 x 24”
Masters Gallery (Calgary) May 22 - 31: ‘All Hail the
Triumphant,’ Sculpture of William McElcheran.
.......................
West End Gallery (Edmonton) May 24 - June 5: Collection
of new paintings by Gerald Sevier.
.......................
Peter Robertson Gallery (Edmonton) May 17 - June 11:
Janice Mason Steeves’ collection of new paintings.
**Call for Submissions**
"Planet Earth", a juried Alberta-wide Open Exhibition hosted by the Alberta Society of
Artists at the Leighton Centre, Calgary in the spring 2009, deadline Nov. 30, 2008.
Forms may be downloaded at www.artists-society.ab.ca .
Cindy Revell
Johnson Gallery
7711 - 85 St.,
Edmonton, AB
• 780-465-6171
Susan Abma
news & information
SASKATCHEWAN
Ottawa Art Gallery
Celebrates 20+35
ELTJE DEGENHART • Prairie Grasses, Acrylic, 36 x 48”
Assiniboia Gallery (Regina), Until May 20: "Saskatchewan Off-Road" featuring
new work by Eltje Degenhart (image above).
.......................
Art Gallery of Swift Current, May 24-29: Through the Eyes of the Cree. Cree
artist Allen Sapp captures Cree culture through his art and paintings.
.......................
Pacific Gallery (Saskatoon), May 17 - June 9: Prairie Pathways by Audrey
Pfannmuller.
MacKenzie Art Gallery (Regina) Until Sept. 1: Dorothy Knowles - ‘Watercolor
Portraits of Saskatchewan.’ Knowles donated approximately 20 watercolor and
acrylic on paper works, mainly of the Saskatchewan landscape. These works,
which form the basis of this exhibition, mark an on-going relationship between
Knowles and the Gallery which began in 1972 with their first purchase of her
watercolors.
MANITOBA
Woodlands Gallery (Winnipeg), Until May 24: Paintings by Claudette
Castonguay.
.......................
Winnipeg Art Gallery, Until June 29: Two new exhibitions. The Harry Winrob
Collection of Inuit Sculpture is a collection of carvings, with its focus on imaginative and original works. GuXiong: Red River-based artist GuXiong has created a four-channel installation incorporatin images of Winnipeg's Red River, the
Qingxi in China, and the Rhine in Germany, Switzerland and the Netherlands.
Months of anniversary celebrations are getting underway at the
Ottawa Art Gallery (OAG) as the
city's public art gallery turns 20 this
year and its Firestone Collection of
Canadian Art turns 35.
"It's going to be a year of festivities, and we want to include everyone, as we draw attention to our
vision for the future, as well as our
achievements." says Mela
Constantinidi, Director of OAG.
"Look forward to a program of
exceptional exhibitions, inventive
public and educational programs,
fun and stimulating special events
and celebrations."
Find more information on the
Gallery's website at:
www.ottawaartgallery.ca.
ONTARIO
Thielsen Gallery (London), Until May
17: 'Objective Subjective
Landscapes' by Eric Atkinson and
'Icarus Studies' by Patrick Thibert.
.......................
Artguise Gallery (Ottawa), Until May
28: An exhibit of new works by
Haliburton based painter Victoria
Ward. The pieces draw from her
experiences in Ontario's "ghost town"
mining communities. In such places,
the geography was drastically altered
by industry and development, intrusively depleted of its natural
resources then vacated; only to later
begin a healing process whereby
nature reclaimed what was once lost.
.......................
Waterfront Gallery (Collingwood),
Until May 31: A collection of works by
artist Rod Prouse, who resides in
Georgian Bay. Prouse has been
involved in the arts since graduating
from Ontario College of Arts in 1967.
news & information
ONTARIO CONT’D
Rothwell Hauck Gallery (Ottawa), Until May 30: All new oil
paintings by artist Cindy Quayle Hauck (image at right).
First time showing of the new series of music- and violininspired paintings with a twist.
.......................
Michael Gibson Gallery (London), Until May 31: 'New
Horizons' - David Sorensen's new body of work. Sorensen
was born in 1937 in British Columbia. He first studied
Architecture then returned to study at the Vancouver
School of Art with Jack Shadbolt. From 1981-2000
Sorensen was visual arts professor at Bishop's University,
Quebec. He has been exhibiting for over 45 years and
currently lives and paints in both Montreal and Mexico.
.......................
Roberts Gallery (Toronto), Until May 31: 'Coast to Coast A Celebration of Canadian Landscape Painting.' 2008
marks the 60th anniversary of the Wildridge family owning
the Roberts Gallery. This special exhibition features new
landscape work by artists representing each of the ten
provinces. Participating Artists include: Rob Zeer, British
Columbia; Deborah Lougheed Sinclair, Alberta; Darrell
Bell, Saskatchewan; RFM McInnis, Manitoba; Susan
Oomen & Geoffrey Armstrong, Ontario; Real Sabourin &
Claude A. Simard, Quebec; Paul Healey, New Brunswick;
Mary Anne Ludlam, Nova Scotia & Newfoundland; and
Philippa Hunter, Prince Edward Island.
.......................
Lucsculpture (Toronto), Until June 10: 'Awakenings,'
Group show including Luc Bihan, Janet Candido, Vivian
Ducas, Dominique Mastropietro, Susan Mosdell, Tara
Thomas and others.
.......................
Art Gallery of Hamilton, Until Sept 7: 'Inspiration East,'
featuring lavish silk kimonos, cutting-edge, contemporary
Japanese art, private collections of modern Chinese painting and historical Japanese ceramics, the influence of
Japanese art upon the work of Edgar Degas and James
Tissot, and films, live performances, readings and workshops.
.......................
Wellington Artists Gallery and Art Centre (Fergus) May
until mid-November: The Grand Opening of Wellington
Artists Gallery and Art Centre took place May 3. Its mission is to assist Guelph and Wellington County artists in
developing their skills and marketing their work. The
gallery will be open daily from 10 a.m.until 5 p.m. from
May 1 until mid-November annually.
QUEBEC
Galerie Trois Pointes (Montreal), Until May 17: '20 Years
of Painting' to celebrate the gallery's 20th anniversary.
CINDY QUAYLE HAUCK • Self-portrait, Oil, 30 x 30”
QUEBEC CONT’D
Joyce Yahouda Gallery (Montreal), Until May 31: Diane
Gougeon ‘Glacage.’ Also until May 31: ‘The Centrefold
Series and Figures’ by Andrea Szilasi.
MARITIMES
Christina Parker Gallery (St. John’s, NFLD), May 23 June 14: ‘The South Coast Paintings’ by Angela Baker.
.......................
Art Gallery of Nova Scotia (Halifax). June 14 - Sept 1), An
exhibition of renowned Canadian realist painter, Tom
Forrestall chronicling the artist's curious observation and
exploration of his surroundings.
NORTH
Birchwood Gallery (Yellowknife, NWT) Until May 17: New
works by Graeme Shaw.
.......................
Yukon Arts Centre (Whitehorse) May 22 to Aug. 24: A
selection of thematic new works by members of the Yukon
Arts Society.
HAVING A SHOW AT A GALLERY AND
WANT US TO CONSIDER COVERAGE?
SEND US A PRESS RELEASE TO
[email protected]
news & information
NATIONAL
Sobey Award ‘long-list’ announced
he ‘long-list’ for the annual Sobey Art Award was
announced Wednesday. The list is made up of
25 Canadian artists.
This list will be decreased again, and on May 20, the
short-list will be announced.
Selected work from the short-listed artists will be
featured in an exhibition hosted by the Institute for
Contemporary Culture at the Royal Ontario
Museum and will run from Aug. 30 to Oct. 13,
2008.
The winner of the 2008 Sobey Art Award will be
announced during a gala event at the Royal Ontario
Museum Oct. 1, 2008.
The $50,000 Sobey Art Award, presented by
Scotiabank, is given annually to a Canadian artist
T
under 40 who has exhibited in a public or commercial
art gallery within 18 months of being nominated. The
long-list includes:
WEST COAST AND YUKON: Althea Thauberger; Tim
Lee; Scott McFarland; Mark So and Kevin Schmidt.
PRAIRIES AND THE NORTH: Daniel Barrow; Paul
Butler; Theo Sims; KC Adams and Terrance Houle.
ONTARIO: Kristan Horton; Luis Jacob; Terence Koh; H.
Lan Thao Lam and Kelly Richardson.
QUÉBEC: Mathieu Beauséjour; BGL; Raphaëlle de
Groot; Adad Hannah; Carlos and Jason Sanchez.
ATLANTIC: Andrea Mortson; Tonia Di Risio; Craig
Francis Power; Mario Doucette and Craig Leonard.
For more information about the Sobey Award, visit
www.sobeyartaward.ca .
Portrait Gallery
invites people to
‘Choose Its Muse’
The Portrait Gallery of Canada is launching its first
national biennial commissioning program and it’s inviting all Canadians to help choose subjects for three portraits this year.
Canadians from coast to coast are invited to submit
the names of living individuals who have made a significant contribution to their community or to Canada. A
selection committee of prominent Canadians and curatorial experts, including Lise Bissonnette, President and
CEO of Bibliotheque et Archives nationales du Quebec,
historian Charlotte Gray, Nobel Prize-winning chemist,
Dr. John Polanyi, and filmmaker, Alanis Obomsawin,
will make the final selection of three subjects. The
artists will be selected by the portrait subjects in consultation with the Portrait Gallery of Canada.
“We’re very excited by the chance to ask Canadians
directly who they think should be in our national portrait
collection,” says Dr. Lilly Koltun, Director General of the
Portrait Gallery of Canada. “We want all Canadians, as
well as the artists who will create the portraits, to feel a
part of building our living story, so that the collection
will continue to reflect the heart of who we are as a
nation and of what we are becoming.”
The launch will take place in four cities: Vancouver,
Toronto, Montreal and Halifax. Nomination forms can be
filled out online at www.portraits.gc.ca. Established artists
are invited to submit their portfolios for consideration.
A NEW BRAND
IS BORN!
Following the closing of the Rising paper mill,
Woolfitt’s have been working with mills
internationally to replace the Rising papers and
boards. We have successfully done this and we are
pleased to announce that Maidstone Fine Art Paper
and Museum Mounting Board is now in stock!
After receiving feedback on the quality of our new
product from printmakers and illustrators, the
consensus is that Maidstone’s handling is superior
in every way. Paving the way for Maidstone
exclusivity in North America and Europe!
www.woolfitts.com
the last word...
am so excited! We were proud to have been a sponsor
of the Visual Arts Summit in Ottawa last November,
and now we have been asked to be the official media
sponsor for the Portrait Society of Canada 2008
International Portrait Arts Festival ‘The Miracle of the
Portrait.’
It will be held in Toronto in December and you can find
out more information about it at www.portraitsociety.ca .
This is aspecial honor and I will be proud to be in attendance and to speak to the attendees at the event.
If you are interested in portrait art, I hope you’ll join me
at this exceptional event where you can enter a prestigious competition and study portrait drawing, painting
and sculpture with leading portrait artists.
There will be demonstrations, professional critiques, a
gala evening event, and more. Give yourself an early
Christmas gift and get your tickets now. I’d love to meet
you.
I
..............
On a personal note, I will be touring Newfoundland and
staying for two weeks on Change Islands this summer.
This artist’s dream holiday started as a result of an invitation by an artist friend of mine, Valorie Preston, and
has turned into an adventure for myself and three other
artists who will be going with me.
If you don’t know about Change Islands, it’s worth checking out at www.changeislands.ca to see this idyllic location where the recent winner of the Newfoundland and
Labrador Arts Council Hall of Honor Award Gerald
Squires was born.
An artist’s and photographer’s dream, this quaint little
fishing village is tugging hard at my heart and, although
it’s several months away, I can’t get it out of my mind. I
will share some images with you when I return. I’d place
a bet that you’ll fall in love with it just like I have.
classifieds
Call for
Submissions
"Planet Earth", a juried Alberta-wide Open
Exhibition hosted by the Alberta Society of
Artists at the Leighton Centre, Calgary in
the spring 2009, deadline Nov. 30, 2008.
Forms may be downloaded
at www.artists-society.ab.ca .
TO BOOK YOUR CLASSIFIED AD:
[email protected]
CLASSIFIEDS
RATES:
Word ads/listings - $50 for 50 words. •
$1 each additional word.
DISPLAY
CLASSIFIEDS:
$40. per col. inch • 1 column = 1.75”
TO SUBSCRIBE:
www.brushstrokemagazine.com
Click on Free Subscription and fill out the
form for access to issues of the magazine.
Canadian Brushstroke Magazine is free to anyone involved in the
art industry in Canada. Whether you are an artist, gallery owner,
curator, collector, art supplier, etc., feel free
to ask us for your free subscription.
We hope you’ll support the advertisers within the magazine,
because their advertisements allow us to give you
this product at no cost to you.
Contact us anytime at: [email protected]
Website: www.brushstrokemagazine.com
TO ADVERTISE:
[email protected]
STORY IDEAS:
[email protected]
(Please do NOT send unsolicited articles. Contact us
first to see if it will suit our coverage. Thank-you)
Ph. 780-986-0789 • Fx. 780-986-8393
Box 3449, Leduc, AB T9E 6M2

May-June 2008 - Canadian Brushstroke Magazine

Transcription

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