Annual Curated Student Exhibition 2013

March 8 – April 18, 2013
Main Gallery
Reception: March 8, 8 – 10 pm

Guest Curator: Richard William Hill
Selected artwork from Senior and Advanced Studio Students

The Annual Curated Student Exhibition provides an exceptional opportunity for the professional development of Art Studio majors as they near completion of their degree. The exhibition gives students a realistic experience with the process of submitting their work and receiving feedback from an established curator. The exhibition is only open to Senior and Advanced Studio students in order to focus attention on those with the goal of becoming professional artists. In applying for this exhibition, the students follow the same process and standards for documenting, describing and proposing their art work as they will when applying to public art galleries, artist run-centres, or for government grants. Staff from the Art Gallery provide advice on preparing the proposals and share insights into what curators look for when deciding to book a studio visit and choose art work for an exhibition.

An established curator from outside of Lethbridge is invited to create the exhibition. The curator views the proposals and selects a short-list of students for follow-up meetings during a visit to Lethbridge. From these studio visits, the curator makes the final selection and works with the Art Gallery staff to lay-out and install the exhibition.

The Annual Curated Student Exhibition provides a showcase of excellent work by Art Studio majors in that year and gives the students a valuable achievement to list on their résumés. As well, the students who are not selected receive feedback on their proposals and can learn how to improve as they prepare to begin their careers.

Visit the Faculty of Fine Arts.

Artists (click image to enlarge)

Neysa Hale
Separation, Clay, liner, fishing line, 2013

Kara Henry
a living document, Mixed media installation, 2013
I must make the call, and they must end it., Blue pen on paper, 2012

Derrick Hoekstra
My self portrait Of anybody, Routered drawing on plywood, 2013

Jamie McKeague
Polyps, Drift wood, bullet shell, human hair, bumble bee, nylon, cotton, red potatoes, thread, lace, walnut shell, 2013

Claire Reid
Self Expression, Self Portrait, 89 shirts, 54 pants, 40 skirts, 22 dresses, 41 leggings/tights, 30 sweaters/blazers, some socks, ties, scarves and things, and 250 pins, 2013

Kasia Sosnowski
Shaped By Ghosts, Mixed media installation, 2013
Void, Acrylic on canvas, 2012
Broken Hymns, Video, 1:30, 2013

Lisa Spinelli
Journals Unveiled, Digital prints, 2013

Meghan Verkerk
Organic Growth, Paper towel and pen, 2013
Mixed Torso, Plaster, cloth, sawdust, felt, dirt, 2013

Kala Walton
My Embrace is My Teacher, Documented performance, 2012

Curatorial Statement

Formed & Formless

From one point of view the history of art can be read as one of a series of projects for bringing the sensible world into order and giving it form. Out of the unity of undifferentiated sense data distinctions are made, and categories created, named and organized. From this process language emerges, the symbolic order is established and ideal shapes and forms are identified and privileged. We become able to talk about and manage our world. At the same time the forms we institute also manage us, dictating—at least in part—our relationship to the sensorium.

Yet as art historians in the 1990s pointed out, this history of form and meaning-making has been haunted by the question of formlessness. This includes both those elements of materiality and experience that exist prior to the individualization of form and those that are necessarily excluded as particular forms are defined. This may include, for example, all the shapes that elude idealization: the ones that are not quite circles, or not quite rectangles. The millions of colour variations that go unnamed. All the mounds, clumps, blobs and messy strands. All the things that are disintegrating or decomposing, that are coming into or losing form. The things that lack names and fit no categories.

As a precondition of form, the formless exists as potential. And although the formless resists and exceeds language, you will see that for students at the University of Lethbridge, it remains wide-open to dynamic artistic exploration.

- Richard William Hill, Guest Curator

About the Artists

Neysa Hale
In my artwork I focus on social issues and human conditions. To explore such issues I use videos, photographs, installations, textiles, and sculpture work. My most current works focus on death and social understanding by creating environments with visual and audio stimulations.
My most recent work, Separation, focuses on death to invite inner reflection. What is our mark in the world, in the lives of people surrounding us? Death is something that is
common and yet powerful where it marks the beginning of something unknown for some, a spiritual journey for others, or a beginning of rebirth. It is the moment of separation from the physical into the unknown.
As I pound, press, stretch and mould each figure I surround myself with those I lost, and others I never knew, sustaining them through memory and reflection. Who were they and what was their story? Each clay figure is fragile and vulnerable. As clay comes from the earth, so we return. We are held together by a sheer covering, an identity. Individual and yet unified, together presenting a history.
My second work is a video installation titled Op-Lish. In this work I investigate social communication by using sounds and body language in order to create a new language that invites interpretation. I hope to encourage the thought of language and its effects on us when we encounter different languages or speech patterns. The differences can create misunderstandings or labels that are damaging and hurtful. With the three personalities represented on the globes, we see the same person and yet three different personalities.
As such, the work seeks to celebrate unity and uniqueness with a creative approach.

Kara Henry
It’s difficult to separate what I do as an artist from who I am as a person. As a result, work I produce carries with its idiosyncrasies left by the trace of my hand. I would argue that people make connections with a work, not because of the trace of the personal, but rather something ambiguously familiar that they relate back to themselves. How many ways then can a work be read or experienced? Does the artists intent translate across to the viewer and their interpretations? Who creates the meaning or narrative in an artwork? What does the formation of the meaning we take say about who we are? Perhaps we both receive information from a work and project our own information onto it. We don’t just read a work of art, but ourselves. How does the dynamic between the viewer and the artist in putting information into and taking information from something, influence both making and reading ambiguously personal work?

Derrick Hoekstra
So many times when I talk to peers, or other colleagues I hear the fallowing words. I wish I could do that. Which is exactly why I refuse to work with one particular discipline over another. A larger artistic lexicon increases my chances of articulating my thoughts, and feelings. I fearlessly leap into new mediums and projects thrilled with the prospect of the unknown. My process is a just as much intuitive as it is contemplative; A work will come from my heart but be refined by my mind as it comes to maturity. My inspiration comes from my family, my children in particular, other artists around me as well as every day occurrences that go by unnoticed. My current work comes from my interest in line and relationships.

Jamie McKeague
I began and continue my process, with a love for shape, form and unrelenting interest in the intersection of pictorial looking (and thinking) and the physical relations to space. I have always been fascinated by microbiology, cells and bacteria, which are reoccurring influences in my practice. The senses are very important in my works, both in the creation process and also in the final product. I appreciate forms that do not conform to the standard of beauty our society holds, such as blisters, clusters, growths and imperfections.
Ambiguity, formlessness and shape are all attributes I take great care in when considering my works.

Claire Reid
I am a fine art studio major this is my 5th and final year of my degree.
I am a multidisciplinary artist my work includes installation, photography and sculpture.
In my work I focus on themes of visual culture, identity and social constructions /paradigms.
I am concerned with the way in which people change or hide themselves in order to fit into society, find love, a job or even feel safe. Social constructs are reinforced by the media in which continually depicts unrealistic concepts of identity and reinforce concepts of normality. Current events influence my work; I am inspired by the social cultural, political and media environment.

Kasia Sosnowski
My current work explores relationships between the viewer, object and language within an installation format. I work in a wide range of media, allowing the materials to speak and guide me. I create environments for my objects to live in and create narratives and conversations within. I make forms that are ambiguous and indistinct allowing the viewer to make subjective associations. I use watercolour, paint, pencil, felt, found objects, and photography to communicate.

When I make work, I only feel I do not think. I like to throw myself into the present, and make work that comes from a space inside my body. I live in a land of materiality and immediacy. This is my favorite place, where everything can be touched and felt out. Impulse is the place I live in, it is where I reside, and it is where my work resides.

To create I must be empty, I must be a vessel for these forms. Read my soul, my guts, my teeth: this is where they come from, from the language of my body. My body is a language.

We forget to look, to breathe, we remind ourselves not to lose our bodies. I hope that the objects I make, the moments I construct give pause to the viewer and take them to a quiet place of contemplation: allowing them to engage with their body and explore their mind. I am interested in the separation between the realm of memory and the realm of experience by integrating language’s inability to visualize reality.

I am compelled to create. It provides an escape for me. I want to return to a place that I trust and find comfort in, make objects and forms there, then pull myself out of that space and present my creations to the world. I am interested in creating quiet moments, moments of pause that gently rest upon language’s spine. Creating a space of refuge, a safe restorative space.

Lisa Spinelli
My work is about process: the process of making art, the process of discovery, and the process of unveiling one’s identity. In the past I have often worked with various forms of self-portraiture, including watered down portraits in acrylic paint meant to portray an emotion as opposed to a “realistic” representation. The following direction of my work was to paint in pure abstraction, also using watered down acrylic paint. This time I used large stretched canvases and placed them on the floor for an effect of large, pooling puddles, combined with dripped lines, which I created by tilting the canvases. In these pure abstract paintings, I was aiming to reveal a subconscious self-portrait that was more about intuitive mark making than portraying anything from physical reality.

Currently, I am exploring a new approach to the self-portrait and individualities in general: the object of the journal and/or diary. I view the journal as a physically simple but elegant object that is more complex beneath its surface. My aim is to examine in depth the significance of a journal as an object, as well as the meaning and history of the act of journaling itself. In this process I am currently using scanners as cameras to document journals, and I am looking into exploring video and installation as well.

Meghan Verkerk
Everywhere we look there are an abundance of gadgets and products surrounding us, from the clothing we wear to the cell phones in our hands. Whenever we open our eyes, there is a product. We cannot hide from mass production – but how does this affect us emotionally and how does it affect our artwork? In my work, I try to experiment with the idea of mass production within the fashion industry, by using plastic manikins.
Recently, I have been teaching art and fashion studies at various high schools, as my practicum towards my Bachelor of Education degree. Teaching has left little time for creating my own art; however, upon returning to the U of L in January, I have been exploring and creating new fashion inspirations, which has led me to start making white plastered figures.
My artwork investigates the interaction of the basic elements of art, in particular, colour and shape. I have been drawn to the simplicity of manikins and how they are ready-made objects that are considered disposable. I want to understand how mass produced fashion is represented, how it impacts people and what influence it has in our modern society.
I am currently interested in the interaction between sculpture and fashion and in trying to find a balance between them. My fascination with mass production has lead me to think about juxtaposition- of making something simple yet different, causing the viewer to have a second glance at my artwork. I am working on a series of plaster casts of baby shirt forms which are a little odd. I enjoy the repetition of the simple forms and the relationship they have with each other.

Kala Walton

I sat on the edge of her small single bed; the bedding was a light green with a large pink floral pattern, a pattern not easily suited to her character, though she had a soft side. I selected my words carefully, despising the feeling of being weak, refusing to cry, even with someone who had seen me at my most vulnerable. I slowly spoke each word, visualizing them in my mind before they escaped my lips. I waited. The blow of honesty didn’t come. I felt her arms reaching for me, her body gently pulling me into hers and I felt the warmth of her soak through me like a dry sponge, expanding as I allowed myself to be immersed in her scent. I did let myself cry then, my whole body sighed with relief, this needed touch, this longing to be held, to be held in such a tender way soothed me to my core. The embrace of another had granted me an understanding of myself. This simple but beautiful gesture of embrace fanned a small spark deep inside me that grew into a small flame of hope.

My art practice encompasses sculpture, installation and video. My current project focuses on human intimacy, the embrace, and the personal experience of coming to self.
The idea of the other in the caress is central to my artistic exploration. Temple Grandin is an American doctor of animal science and a consultant to the livestock industry whose understanding of the importance of being embraced has driven her success in the livestock industry. She has constructed her own hugging machine that allows her to feel the comfort of an embrace without being enveloped by another. Grandin has allowed her life experiences to inform her work. Diagnosed with autism at a young age Grandin has written many books about her experiences as an autistic woman including, Temple Grandin: How the Girl Who Loved Cows Embraced Autism and Changed the World. Her understanding of self has allowed her to succeed, not despite but because of her autism.
I’m going through a period of intense self-discovery, which has led to an evolution in my artistic practice from an attempt to understand identity through childhood memory into a focus on the present. In my current work I’ve chosen to closely align my exploration of identity with my artistic practice, allowing personal discoveries to inform my work as they arise, thus creating a dynamic and shifting artistic terrain. Understanding my sexuality is an essential element of this process of discovery; the impact of the embodied self being enveloped by the body of another is an experience that has brought further understanding of my own identity.
My most recent art work involves the pairing of the bodies of women lying in positions of repose and embrace, and draping their bodies with wet plaster gauze. The resultant sculptural traces reference time, commemorate and are quietly attentive to intimate exchange. The embrace is represented as a beautiful interaction between two people that can hold many different layers of intention. The intention of the embrace can be admiration, celebration, greeting, formality, kinship, friendship, passion, love, loneliness, despair, fear, support, and condolence. I am most interested in the caress of the lover, and my work focuses specifically on the intimate exchange of lesbian lovers.

it all

will fall

right

into

place

ACSE 2012

March 9 – April 12, 2012
Main Gallery

Guest Curator: Dawn Cain
Selected artwork from Senior and Advanced Studio Students

The Annual Curated Student Exhibition provides an exceptional opportunity for the professional development of Art Studio majors as they near completion of their degree. The exhibition gives students a realistic experience with the process of submitting their work and receiving feedback from an established curator. The exhibition is only open to Senior and Advanced Studio students in order to focus attention on those with the goal of becoming professional artists. In applying for this exhibition, the students follow the same process and standards for documenting, describing and proposing their art work as they will when applying to public art galleries, artist run-centres, or for government grants. Staff from the Art Gallery provide advice on preparing the proposals and share insights into what curators look for when deciding to book a studio visit and choose art work for an exhibition.

An established curator from outside of Lethbridge is invited to create the exhibition. The curator views the proposals and selects a short-list of students for follow-up meetings during a visit to Lethbridge. From these studio visits, the curator makes the final selection and works with the Art Gallery staff to lay-out and install the exhibition.

The Annual Curated Student Exhibition provides a showcase of excellent work by Art Studio majors in that year and gives the students a valuable achievement to list on their résumés. As well, the students who are not selected receive feedback on their proposals and can learn how to improve as they prepare to begin their careers.

Visit the Faculty of Fine Arts.

Artists (click image to enlarge)

Charissa Brown
Bunny III, Oil on canvas, 2012
Cognitive dissonance, Oil on canvas, 2012 

Sarah Christensen
A Walk Within (1), Digital video, 1:34min, 2011
Moment 2 (excerpt from A Video Diary, 1:46:07), Digital Video, 1:44min, 2011 

Cindy Gauthier
Chimera, Ink on paper, 2011
Stripped, Bone and beehive, 2011 

Neysa Hale
Second Skin, Yarn, photo documentation, digital video, 2011 

Derrick Hoekstra
x(52)=, Playing cards, 2012 

Nicole Lalonde
Drip (clip), Digital video, 2011
Wipe (clip), Digital video, 2011 

Bonnie Patton
Book Still (Batman), Xerograph on paper, 2012
It All Will Fall Right Into Place (revisited), Digital video, 2012 

Arianna Richardson
Select wallpapers from the Collection
Newfoundland, Embroidery on vintage chair, 2011
Contemplating a Move, Digital photographs, 2011
Canada Smokes (Call 524-3752 to order your today), Cross-stich, found objects, 2012
Deep Dark Woods Dance, Digital video, 2:36min, 2011 

Curatorial Statement

it all
will fall
right
into
place*

The eight artists featured in the exhibition communicate their ideas through a diverse range of materials and idioms. Apart from their shared experience as students in the flux of discovery and experimentation, perhaps what unites them most is a probing interest in the creative process.

Each of these artists is remarkably fearless in their explorations, exploiting the possibilities of paint, ink, fibres, textiles, found objects, photocopiers, video and digital software in the creation of works that intrigue and absorb the viewer.

For this group of promising artists nearing the end of their undergraduate studies, it all will fall right into place.

- Dawn Cain, Guest Curator

* The title of a work by Bonnie Patton, this phrase, which conveys a sense of hopeful optimism that captures the essence of the exhibition, has been adopted as its banner.

About the Artists

Charissa Brown
Illusions that project a narrative of genuine and sincere emotion that can transcend spoken language are an important part of my work. Colors that are vivid and at times jarring are something that gives the images another layer of visual and symbolic meaning.
Bunny III is fascinatingly symbolic through western culture. It can start as the sweet Easter bunny, be a chocolate idol in a children’s movie, a sexual symbol in a magazine or a symbol of witchcraft. Cognitive dissonance is about conflicting views and opinions about actions and emotions within one’s self.

Sarah Christensen
My existence has always included various forms of self-documentation, which are currently being engaged through my experimentation with video. I enjoy the uncomfortable and challenging process of baring my thoughts, fears, joys, insecurities, and musings to the motion camera, as this process exemplifies the raw sense of an intimate experience and is defenseless to the interpretation of the other. This immediately gratifying medium has provided a place to explore my vulnerability through exposing my captured moments.

Cindy Gauthier
I grew up with two very different ways of looking at the body: the scientific approach utilized by medicine, and the distortions and mutilations in horror films. After beginning university, I began seeing even more ways to look at the body being exposed to grotesque art, as well as theories about abjection and different theories about horror films. However, my artwork is not intended to be exactly like any of these despite sharing subject matter; rather, I want to distort to create a space where anything, particularly the body, is both beautiful and flawed, grotesque yet intriguing.

Neysa Hale
Yarn in Second Skin draws upon the textile world while inscribing “a range of protective, comforting and homely values.” Its characteristics together with the enveloping of my body create a relationship to nostalgia – the act of yearning for the past – by becoming a second skin. It moves and breathes covers and protects me in the way that skin protects my body, while the act of crocheting behaves like a returning memory repeating itself over and over again becoming an expression, a connection, and a stabilizer.

Derrick Hoekstra
There are many ways to measure time, weeks months hours days that being said with fifty two cards in a deck one for each week of the year four suits four seasons I have measured my own life with these decks of cards.

Nicole Lalonde
Drip – Manifested through simple, performative gestures, my works revolve around concepts of twinship, sexuality, identity, and dichotomies. For the most part, these broad subjects are employed as a means to understanding society and culture.
Wipe – Recently my grandmother passed away due to Fahr’s Syndrome – a debilitating disease much like Alzheimer’s. Although, my chances of inheriting this disease are slim, I cannot help feeling haunted by a potential loss of self. Ingrained within this piece is both my fear of mental illness and the complicated emotions and psychological states that I experienced during this time.

Bonnie Patton likes to learn.
She likes to learn to the point where her artwork is all about learning,
specifically about language,
but learning in general.
She learns by working with her hands, using paper and typewriters and photocopiers
and anything else that strikes her fancy.
She learns by writing.
Bonnie Patton likes to write.
She likes to write to the point where her artwork is all about text and words.
Bonnie Patton likes to play.

The works included in this exhibition are the result of subjecting the phrase “It All Will Fall Right Into Place” to a combination of the format inspired by Lewis Carroll’s “Square Poem” and photocopy experimentation in which the paper was moved around while the photocopier was scanning. The result is a new and unusual way of looking at text and the visual forms it can appear in.

Arianna Richardson
“O Canada!
Our home and native land!
True patriot-love
in all they sons command.
With glowing hearts
we see thee rise,
The True North
strong and free,
And stand on guard,
O Canada,
We stand on guard
for thee.
O Canada,
glorious and free!
We stand on guard,
we stand on guard for thee.
O Canada,
we stand on guard for three!”

- R. Stanley Weir, 1908

About the Curator

Dawn Cain has been the Curator of BMO Financial Group’s Corporate Art Collection since 2003. Cain was formerly Curator of the Malcove Collection at the University of Toronto, where she also taught undergraduate and graduate level courses in art history from 1997 to 2006. In addition to her curatorial responsibilities for BMO’s art collection, which include proposing installations for the BMO Project Room, Cain developed, organizes and administers the BMO 1st Art! Invitational Student Art Competition and curates the annual 1st Art! exhibitions at the Museum of Contemporary Canadian Art (MoCCA). When she is not at BMO, Dawn researches, lectures and writes in her areas of expertise. Currently she is working with Elisa Coish on a documentary film and biographical text about Dr. Lillian Malcove, a Freudian psychoanalyst and art collector of significance, who was raised in Canada and lived in New York from the 1920s to the early 1980s.

Out of the Ordinary: Annual Curated Student Exhibition

Main Gallery
Guest Curator: Emily Falvey

The University of Lethbridge Art Gallery provides an exceptional opportunity for the professional development of Art Studio majors as they near completion of their degree. The Annual Curated Student Exhibition has recently been revised to give students realistic experience with the process of applying for exhibitions and receiving feedback from an established curator. The exhibition is only open to senior art majors in order to focus attention on those with the goal of becoming professional artists. In applying for this exhibition, the students follow the same process and standards for documenting, describing and proposing their art work as they will when applying to public art galleries and artist run-centres or for grants. Staff from the Art Gallery provide advice on preparing the proposals and share insights into what curators look for when deciding to book a studio visit and choose art work for an exhibition.

An established curator from outside of Lethbridge is invited to create the exhibition. The curator views the proposals and selects a short-list of students for follow-up meetings during a visit to Lethbridge. From these studio visits, the curator makes the final selection and works with the Art Gallery staff to lay-out and install the exhibition.

The Annual Curated Student Exhibition provides a showcase of excellent work by Art Studio majors in that year and gives the students a valuable achievement to list on their résumés. As well, the students who are not selected receive feedback on their proposals and can learn how to improve as they prepare to begin their careers.

Visit the Faculty of Fine Arts.

Artists (click image to enlarge)

Donna Bilyk
Chip Painting, acrylic on chipboard, 2010
Chip Painting – Details, acrylic on board, 2010 

Katie Bruce
Untitled (Woodshop), embossed and embroidered BFK Rives paper, 2010 

Brenna Crabtree
Cryptic, acrylic on masonite, 2011 

Allison Crop Eared Wolf
Indian Act; Revised, handmade paper from the Indian act, hair, 2011
Indian Act: An Indian Perspective, Digital photograph, 2010 

Kalen Hussey
Scars,HDR photograph, 2011 

Chad Patterson
Salt Lick, cast aluminum, found material, 2010 

Bonnie Patton
preFIXation, cedar wood, plastic, paper stickers, ink, typewriter ribbon, 2010
Remain Calm…, vinyl lettering, 2010 

Arianna Richardson
The Hobbyist Collection, mixed media video, 2011
Showcase, cabinet, paper, 2011
Tinsel Tick, wire mattress, tinsel, pillows, 2010 

Corinne Thiessen Hepher
…eaten @ 1:55, video, 2011
not uniform suit, nylon pantyhose, polyester fibre, thread, 2011 

Jena Ursel
Polyps I, wool, linen, 2011
The Button Project, buttons, crochet cotton, 2009 

Curatorial Statement

Visual art that explores the aesthetic and political potential of the everyday has a long and rich history. Although art historians usually associate this kind of work with modern and avant-garde artistic practice, it can in fact be traced to 16th- and 17th-century Renaissance still lifes, which used symbols of ephemerality—such as cut flowers, rotting fruit, small insects, and skulls—to both celebrate and caution against over-consumption. At the time, these detailed trompe-l’œil paintings were considered the lowest fine-art genre, and so artists were at greater liberty to experiment with them. In many ways, painters such as Cornelius Gijsbrechts (Antwerp, ca.1630-1675) and Jean-Baptiste-Siméon Chardin (France, 1699-1779) laid the groundwork for pivotal 20th-century artists like Meret Oppenhiem, Marcel Duchamp, and Any Warhol, whose work turned mundane, found objects and images into vectors of outrage, wonder, and dread.

Out of the Ordinary revisits the practice of extracting unusual and unexpected forms and meanings from everyday materials and subjects. By creating work that incorporates or builds upon found objects, patterns, and text, the artists in this exhibition explore a wide range of issues, including states of contradiction, processes of legitimation, and acts of both violence and healing. Corinne Thiessen Hepher’s work, for example, uses costumes and body extensions to explore themes of metamorphosis and hybridity. Often constructed from found materials such as pantyhose, her work plays on the distinction between intimacy and extroversion, the beautiful and the grotesque. Less dramatic, although no less paradoxical, Katie Bruce’s prints focus on discrete cracks and other patterns that develop naturally in the built environment. Approaching these formations like readymade engravings, she uses them to emboss paper, then works back into the resulting image with embroidery. Also working with textiles, Jena Ursel explores the relationship between repetitive, ritualistic processes and therapy. Inspired by a personal struggle with depression, her work represents both a form of self-examination and a means of escape. In a similar vein, Kalen Hussey’s photographs consider the tension between strength and vulnerability by zeroing in on accidental and self-inflicted scars.

Among the more playful works in the show, Bonnie Patton’s preFIXation (2010) treats prefixes and suffixes as alchemical devices capable of transforming any word. A set of language games made from altered Rubik’s Cubes, handmade Scrabble pieces, and dice, the surreal randomness of this work is echoed by a text fragment enlarged to fill an entire wall. Combing craft techniques with found vintage and kitsch objects, Arianna Richardson’s multimedia practice critiques methods of assigning value based on a distinction between fine-art collectors and hobbyists. Brenna Crabtree’s ongoing series of bread tags explores the hidden formal possibilities of extremely banal subject matter, while Chad Patterson’s tactile sculpture, Salt Lick (2010), offers a playful take on the Duchampian readymade. Also referencing modernist frameworks, Donna Bilyk’s Chip Painting (2010) undermines abstraction as a form of individual expression by using programmatic methods and a limited palate of commercial paint.

Perhaps the most political work in the show, Indian Act; Revised (2011), by Allison Crop Eared Wolf (Blackfoot, Blood nation), deconstructs the offensive Act of Parliament used by the federal government to define who is an “Indian.” Motivated by a desire to both highlight and obliterate this disturbing document, she painstakingly shredded a copy of the Act by hand, turning the remains into sheets of hand-made paper. Embedded in each sheet is a lock of the artist’s hair, a reference to the Blackfoot custom of burying hair after it has been cut.

Emily Falvey, Guest Curator

————————

Originally from Nova Scotia, Emily Falvey is now a Montreal-based independent curator and art critic. In 2009 the Canada Council for the Arts awarded her the Joan Yvonne Lowndes Award for critical and curatorial writing, and in 2006 she received the Curatorial Writing Award (Contemporary Essay) from the Ontario Association of Art Galleries. She is currently working on the manuscript for her first book of art criticism, titled Torn Halves and Half-Truths: Strategies of Paradox in Recent Canadian Art. Her curatorial work includes Exploded View (2010), Nite Ride (co-curated with Ryan Stec, 2009), Blue like an Orange (2009), and Buildup (2008). She was Curator of Contemporary Art at the Ottawa Art Gallery from 2004 to 2008.

2009 BFA Art Graduate Exhibition

Main Gallery

closing reception: May 29, 2009, 1 – 3pm
Closing Reception in Art Gallery.
Open to students graduating with a BFA (Art), this exhibition features work chosen by students to represent their artistic achievement during their studies in the Department of Art at the U of L.

BFA Art Graduate Exhibition

Main Gallery
Reception: May 30 in conjunction with Convocation

Open to students graduating with a BFA (Art), this exhibition features work chosen by students to represent their artistic achievement during their studies.

Annual BFA Graduate Exhibition

U of L Main Gallery

Open to all those graduating with a BFA (Art), this exhibition features work chosen by students to represent their artistic achievement during their studies in the Department of Art at the U of L.

Anthony Barrett
Shannon Colgan
Jane Edmundson
Michael Eubank
Lana Ing Gabor
Aaron Hagan
Brenna Kanski
Erin Kennett
Maya Leinweber
Lynol Lui
Koji Murano
Dan Shea
Marica Swanepoel

Annual BFA Graduate Exhibition

Main Gallery
Helen Christou Gallery

Reception, Thursday June 2, 2005. 4 – 6pm. Following BFA convocation.

Open to all those graduating with a BFA (Art) or BFA (Art)/B.Ed., this exhibition features work chosen by students to represent their artistic achievement during their studies in the Department of Art at the University of Lethbridge.

BFA Graduate Exhibition 2004

Main Gallery & Helen Christou Gallery

Features work chosen by students to represent their artistic achievement
during their studies at the University of Lethbridge.

Annual BFA Graduate Exhibition 2003

Main Gallery

Features work chosen by students to represent their artistic achievement during their studies at the University of Lethbridge.

Jason Betke
Alicia Camarta
Allison Ferty
Ashley Gaboury
Dillison Malinsky
Lydia Quigg
Hadar Shapiro
Alex Tassioulas
Dan Wong
Cam Woykin

Annual B.F.A. Graduate Exhibition 2002

Main Gallery

Open to all students graduating with B.F.A in visual art, this annual exhibition features the work chosen by students to represent their artistic achievement.

The Exhibition features work by:
Jay Ashton
Kristin Bjornerud
Rhoda Brooks
Christa Chapman
Fayiaz Chunara
Beany Dootjes
George Dyson
Kathryn FitzGerald
Alexis Hardy
Garth Hardy
Mark Houlden
Jeremy Houseman
Kathryn Randell
Dawn Reiffenstein
Melissa Robertson