ALBERTA FOUNDATION FOR THE ARTS …...The ALBERTA FOUNDATION FOR THE ARTS TRAVELLING EXHIBITION PROGRAM REGION 4 SOUTHEAST / 2016-2017 EXHIBITIONS WELCOME For the 2016-2017 year, TREX

Celebrating 30 Years

TheALBERTA FOUNDATION FOR THE ARTS

TRAVELLINGEXHIBITIONP R O G R A MREGION 4 SOUTHEAST / 2016-2017 EXHIBITIONS

The ALBERTA FOUNDATION FOR THE ARTS

TRAVELLING EXHIBITION PROGRAMREGION 4 SOUTHEAST / 2016-2017 EXHIBITIONS

WELCOME For the 2016-2017 year, TREX Southeast offers 11 new exhibitions representing the work of over 54 Alberta artists. Exhibition themes are varied to suit every audience, with historic and contemporary artwork in a wide range of media. Each exhibition comes with an interpretive catalogue and educators guide providing exhibition information and lesson plans. Plus, the guides are available in a PDF format under the Exhibition Catalogues link, making exhibition information and lesson plans accessible for Smartboards and easily printable. Exhibitions are designed for ease of handling and may be displayed in different ways depending the type and amount of space available. We also offer programming support for our venues such as our visiting artist workshops, artist talks and exhibition receptions.

Bookings are made on a first-come, first-served basis and we recommend that you submit your requests early. TREX exhibition fees remain affordable at $75.00 for each four-week loan period. The TREX Program pays all shipping and insurance costs. To make your request, simply fill out the request form and submit it by fax or email. You are welcome to phone us any time for assistance with bookings at (403) 502-8586.

We welcome southern Alberta venues of all kinds, including schools, libraries, hospitals and visitor centres to participate in our program and we look forward to serving your community.

ACKNOWLEDGMENTSThank you for your contributions:

Artists

Program Venues

Venue Representatives

Volunteers

OUR PROGRAM PARTNERS:

Art Gallery of Grande Prairie, Grand Prairie

Art Gallery of Alberta, Edmonton

Alberta Society of Artists, Calgary

The Alberta Foundation for the Arts

AFA Art Collections Staff

Art Galleryof Alberta

Northeast and North Central

Alberta

The Art Gallery of

Grand PrairieNorthwest

Alberta

Alberta Society

of ArtistsSouthwest

Alberta

Esplanade Arts & Heritage

CentreSoutheast

Alberta



MANDATESince the program’s introduction during Alberta’s 75th Anniversary Celebrations in 1980, the Alberta Foundation for the Arts (AFA) has supported a provincial Travelling Exhibition (TREX) program. The TREX program strives to ensure every Albertan is provided with an opportunity to enjoy fully developed exhibitions in schools, libraries, health care centre’s, and smaller rural institutions and galleries throughout the province.

The TREX program assists in making both the AFA’s extensive art collection and the work of contemporary Alberta artists available to Albertans.

Four regional organizations now coordinate the program for the Foundation.

These partners offer a wide range of exhibitions to communities from High Level in the north, to Milk River in the south, and virtually everywhere in between. Annually, more than 300,000 visitors enjoy nearly 100 exhibitions in over 107 communities.

The program offers educational support material enabling educators to integrate visual arts exhibitions into the school curriculum.

The program may offer artist visits with selected exhibitions at a nominal cost to the exhibition venue.

FOUR REGIONALOrganizations

A STEP-BY-STEP GUIDETO HOSTING TREX EXHIBITIONS



Selection

• Choose which exhibition(s) you would like your venue to host for the 2016-2017 year by reviewing the exhibition launch catalogue.

• Fill out an exhibition request form with preferred and alternate exhibition periods. A workable PDF and Word exhibition request form is located under our Current Exhibitions link.

• Send form by email to [email protected]

• Selections will be confirmed or alternatives suggested

• A booking confirmation document will be emailed within 48 hours of receiving your exhibition request

Pre-ExhibitionIn September 2016 you will receive a package with of anexhibition loan agreement form (per exhibition). Please have your venue's signing authority sign all exhibition loan agreements and mail documents back to the Esplanade within 30 days (envelope provided).

About three weeks before the show’s arrival, the venue will receive:

• The Exhibition Interpretive Catalogue and Educator’s Guide (copy to keep), invoice, condition report form, publicity report form, visitor comment sheet and media release

• Please send exhibition media release to local media a week before exhibition begins

Interactivity• An Exhibition Interpretive Catalogue and Educator’s

Guide is provided to connect the audience with the artists featured in the exhibition

• Visual Art activities for the classroom are offered to engage and inspire students

• Artists may be available to visit the venue in person to conduct a visiting artist workshop. To find out more about arranging a special event such as an artist talk, public reception or workshop, please contact Xanthe Isbister, Program Manager/Curator

Receiving• Crate(s) will arrive by transport truck at least two days

before the start of the period

• Important! Please wait 24hrs before opening crates to allow contents to gradually meet venue’s temperature and humidity levels

Un-packing• Unpack artwork carefully from crates, noting any

special handling instructions

• Use condition report form to list incoming artwork

• Inspect artwork/frames for signs of damage

• Set-up display of artwork and didactic panels

• Avoid sunlight/heat/water sources

• Attach labels to wall or table surfaces near artwork (no tape or gum on Plexiglas)

• Clean surfaces with soft, clean cloth

Packing• Carefully remove artwork from walls, shelves or tables

• Complete outgoing condition report form

• Place artwork in designated slots/containers inside crates

• Seal crates

Shipping• Shipping labels, information and instructions are

emailed to the venue one week prior to shipping

• Third-party billed to the City of Medicine Hat, Esplanade Arts & Heritage Centre

Post-Exhibition• Fill out publicity and attendance form

• Email completed forms, along with visitor comments to the program manager/curator. $75.00 exhibition fee is due 30 days after exhibition, and payable by cheque to the City of Medicine Hat, Esplanade Arts & Heritage Centre

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EXHIBIT SCHEDULE



Period DatesPERIOD 1

August 31 - September 28, 2016

PERIOD 2

October 5 - November 2, 2016

PERIOD 3

November 9 - December 7, 2016

PERIOD 4

December 14, 2016 - January 18, 2017

PERIOD 5

January 25 - February 22, 2017

PERIOD 6

March 1 - April 5, 2017

PERIOD 7

April 12 - May 10, 2017

PERIOD 8

May 17 - June 14, 2017

PERIOD 9

June 21 to July 19, 2017

PERIOD 10

July 26 to August 23, 2017

Period 1-5Margaret Shelton: Block Prints

Echo Chamber

Imprints

Winter on the Wapiti

1.6 Million Miles a Day*

When We Were Young*

Abstractland*

Periods 6-10Home Is Where the Art Is

Celebrating the Journey

Odysseus

Wind

1.6 Million Miles a Day*

When We Were Young*

Abstractland*

54 ARTISTS REPRESENTED *Exhibition available all year, Periods 1-10.

MARGARET SHELTON: BLOCK PRINTS



LEFT TO RIGHT / TOP TO BOTTOM

Margaret SheltonFishing on the BowColour woodblock print1979

Margaret SheltonShooks BarnWoodblock print on paper1974

Margaret SheltonUntitled 9 (The Fraser Canyon)Woodblock on paper1953

Margaret Shelton (1915-1984) was a Calgary based artist with a deep passion for the Alberta landscape. Her block prints illustrate the diversity and beauty of nature, and they often portray the way we interact within it. Rather than express landscape in the romantic and painterly way that was popular at the time, Shelton’s interpretations are direct, honest, and detailed. Her contributions to the development of printmaking in Canada are significant, having created hundreds of block prints in her half-century career as an artist.

This exhibition presents a brief visual insight into how Shelton captures and interprets the Alberta culture through printmaking, using 23 works that span her long and prolific career.

Curated by Todd Schaber and Tessa Embleton, from the collection of the Alberta Foundation for the Arts

1 ARTIST24 ARTWORKSAPPROX. 70 RUNNING FEET2 DIDACTICS2 CRATES

AVAILABLE IN PERIODS 1-5




Paddy LambFan House IIIOil on mylar2014Collection of the artist

Brenda Kim ChristiansenSurveillanceAcrylic on board2015Collection of the artist

Patrick HigginsVein in the ValleyOil on canvas2015Collection of the artist

An art work, regardless of its subject, style or artistic medium, can be described as an expression of an artist’s voice: the means by which the artist relates his or her deliberations, emotions, experiences and interests. As such, what is portrayed by the artist is similar to an echo: it is a reflection of something real, whether that reality is physical or exists only in the artist’s mind. In the act of creation, meanwhile, the artist functions as an echo chamber, directing his or her reflections and giving them body. Finally, the presentation of individual art works in the form of an exhibition can also be likened to an ‘artistic’ echo chamber where the works, by being displayed together, are given added influence and intensity.

Such philosophical meditations are expressed in the TREX exhibition Echo Chamber. Featuring art works by Brenda Kim Christiansen, Patrick Higgins and Paddy Lamb, the works in this exhibition explore concepts of realism and illusion; memory; and fragments of personal, cultural and intuitive experiences. Freely reinterpreting these ‘echoes’ of the real world, the artists construct images which challenge realistic illusion and where experiences are manipulated, combined with other experiences, and coloured by intellect and emotion to create more substantial encounters with the world.

While inspired by the visible world and personal experiences, the art works presented in the exhibition Echo Chamber go beyond documenting individual memories and narratives. Rather, through their works the featured artists seek to actively engage viewers in the fabrication of new memories, narratives and perceptions of reality, thereby constructing echoes of experience which become the viewer’s own.

The exhibition Echo Chamber was curated by Shane Golby and organized by the Art Gallery of Alberta for the Alberta Foundation for the Arts Travelling Exhibition Program. The AFA Travelling Exhibition program is supported by the Alberta Foundation for the Arts.

3 ARTISTS 18 ARTWORKS APPROX. 75 RUNNING FEET 4 CRATES


ECHO CHAMBER



TOP TO BOTTOM

Maxwell BatesSunLithograph on papern.d.Collection of the Alberta Foundation for the Arts

Walter J. PhillipsWild Cherry Woodcut on papern.d.Collection of the Alberta Foundation for the Arts

Walter JuleUntitled: From the Killing Room SeriesScreenprint, lithograph on paper1977Collection of the Alberta Foundation for the Arts

The word imprint can be defined in two ways. As a verb it can be described as making a distinctive mark or impression; the act of stamping or printing on a surface. As a noun, imprint can refer to something or someone that affects another deeply as to mind or feelings (Collins Paperback English Thesaurus, pg. 318)

Both of these meanings of the word imprint are appropriate when describing the Alberta Foundation for the Arts Travelling Exhibition Imprints. Presenting print-based art works from the collection of the Alberta Foundation for the Arts, this exhibition explores print-making as a means of artistic expression throughout history and within Alberta over the past century. With art works ranging from traditional woodblock prints from the early twentieth century to computer-generated imagery from the twenty-first century, this exhibition examines various print-making processes and considers the development of print-making as a form of visual expression in Alberta.

Through the above examination the exhibition Imprints also recognizes a few of the many individuals who, through their artistic efforts and educational/administrative roles, have made indelible impressions on the visual arts both in Alberta and beyond the province’s borders. Whether responsible, like Maxwell Bates, John Snow or George Weber, for introducing print-making processes to the province or, as witnessed in the careers of Sylvain Voyer, Walter Jule, Lyndal Osborne, Marc Siegner and Robin Smith Peck, active in establishing art centers integral to the promotion of print-making and the visual arts, the artists represented in this exhibition have influenced a multitude of other artists and added immeasurably to Alberta’s cultural landscape.

Over the course of the twentieth and into the twenty-first century print-making as a form of artistic expression has definitely made its mark on the visual arts scene in Alberta. The exhibition Imprints recognizes the significance of this media and acknowledges some of the individuals responsible for the stature of both print media and various art institutions on the provincial, national and international art stages.

The exhibition Imprints was curated by Shane Golby and organized by the Art Gallery of Alberta for the Alberta Foundation for the Arts Travelling Exhibition Program. The AFA Travelling Exhibition program is supported by the Alberta Foundation for the Arts.

19 ARTISTS 19 ARTWORKS APPROX. 75 RUNNING FEET 2 CRATES


IMPRINTS




Robert GuestMcGuinness Cabin, Fork of the Wapitiand Red Willow RiversAlkyde paint on canvas board1988Courtesy the AGGP Permanent Collection

Robert GuestMoon Before Freeze-Up,Big Coulee AreaAlkyde paint on canvas board1986Courtesy the AGGP Permanent Collection

Robert GuestCold Night Campfire, Knoll AreaAlkyde paint on canvas board,1987Courtesy the AGGP Permanent Collection

Robert GuestDark Cliffs, Mid-Winter ThawAlkyde paint on canvas board1986Courtesy the AGGP Permanent Collection

Winter on the Wapiti can be seen as Robert Guest’s visual journal, created during a four-year project (1984 – 1989) along the river banks of the Wapiti River, far from urban life. Sketches were made, day and night, and then finished in Robert’s studio-cabin near the river. The paintings are made with alkyd paint on 8” x 10” panels. Guest who is an avid outdoorsman with a deep connection to the natural beauty of the land has spent a lifetime documenting this in his paintings. This exhibition was first displayed at the Art Gallery of Grande Prairie in 1989 and was recently donated by the artist to the gallery’s permanent collection.

The collection covers about 10 miles along the Wapiti River from Iroquois Creek in the east to Calihoo Creek in the west. His cabin was situated near the Pinto Creek junction on the Wapiti River about half way along this visual journey. Guest painted a total of 67 works to document this journey but for this exhibition 20 pieces were chosen that represent the entire length and time frame of this of this project. This exhibition will also include a map of the area in which this visual journey takes place.

Curated by Todd Schaber, Art Gallery of Grande Prairie

20 PAINTINGS1 MAP2 DIDACTICSAPPROX. 60 RUNNING FEET2 CRATES


WINTER ON THE WAPITI



The exhibition 1.6 Million Miles a Day features videos and photographs by Canmore artist Dan Hudson. The works in this exhibition provide an unassuming first impression. The viewer initially encounters imagery of a sunset, park, cityscape, or mountain range. But this initial impression will dissolve as you become absorbed in the dark meditative waves in the video Illusions of the Sun Going Down or the ghostly mountains that appear and disappear in News, Weather & Sports, a year-long time-lapse video that documents season changes and leisure activities in a public park. As the seconds turn into minutes, the conceptual and technical complexities of Hudson’s work begin to emerge.

The concept of time is essential in both Hudson’s creative and technical processes. Earth’s average orbital speed is 110,000 km/h, and it travels approximately 1.6 million miles around the sun each day. It rotates on a tilted axis, from west to east, which is why the sun appears to rise on the eastern horizon and set on the western. Time is based on Earth’s rotation, and as Hudson describes, “Time delineates the essence as well as the parameters of our existence.” The works in 1.6 Million Miles a Day address both linear and cyclical aspects of time, provoking the viewer to contemplate observation and memory, and how we relate to each other and the world around us. Hudson’s technical feats directly relate to the conceptual bases of his work; meticulous documentation and editing processes take months, at times years.

Curated by Xanthe Isbister, Esplanade Arts and Heritage Centre

1 ARTIST3 ARTWORKS:1 LENTICULAR TRIPTYCH1 DIPTYCH VIDEO (2 TV’s - may hang or stand on tabletop)1 VIDEO (1 TV - may hang or stand on tabletop)2 DIDACTICSEach host venue will receive the publication: Between Earth and Sky: Dan Hudson APPROX. 45 RUNNING FEET2 CRATES

TOP TO BOTTOM

Dan HudsonIllusion of the Sun Going Down2 channel video2015Collection of the artist

Dan HudsonNews, Weather, Sports Looping HD video2010Collection of the artist

Dan HudsonSun, Earth, Moon, NYC Animated lenticular photograph15 x 75 inches2016Collection of the artist


1.6 MILLION MILES A DAY



“We go from birth to death, from first to last. We are young before we grow old, stimulus always precedes response, and there is no return to yesterday. The sole exception is memory.”

-Jill Price, from The Woman Who Can’t Forget

When We Were Young features the work of five talented female artists from Medicine Hat. Each artist was invited to interpret and respond to the theme “when we were young.” The works explore the innocence and joy of childhood, relationships with siblings, and the unexpected and sometimes traumatic experiences of youth. Participating artists Jessica Plattner, Susan Knight, Safira Lachapelle, Kat Valenzuela, and Wendy Stuck have created works through a variety of approaches: oil painting, photography, mixed media assemblage, and drawing. The results are a diverse collection of unique interpretations that celebrate both the complexities and simplicities of youth.

The theme/title refers to the past, influencing each artist to recollect memories which then inspired their concepts. In his book The Making of Memory, Steven Rose describes how memory influences our sense of self: “Memory defines who we are and shapes the way we act more closely than any other single aspect of our personhood. We know who we are, and who other people are in terms of memory.” Each of the participating artists was inspired by memories, but from radically different points of view.

Curated by Xanthe Isbister, Esplanade Arts and Heritage Centre

5 ARTISTS17 ARTWORKS2 DIDACTICS APPROX. 75 RUNNING FEET2 CRATES


Jessica PlattnerTower Oil on canvas 2016

Susan KnightTeaching an Old Dog New TricksDigitally manipulated photograph2016

Kat ValenzuelaAfter the RainPhotograph


WHEN WE WERE YOUNG

VISITING ARTIST WORKSHOP OPPORTUNITIES AVAILABLE WITH THIS EXHIBIT.



Abstractland features a selection of twenty oil paintings by Les Graff, and spans four decades of the artist’s prolific career. The paintings, which he refers to as “oil studies,” were produced on location in various settings around Alberta: mountains, prairies, lakes and farmland. His spontaneous and intuitive approach produces abstract works that “intensify the real by defamiliarizing it,”1 a fundamental quality of abstract expressionism. The results convey characteristics of nature, such as the light over a farm field at sunset or the silence of the boreal forests in winter. They are both aggressively and thoughtfully rendered, evoking the power and beauty of our natural world.

Beyond interpreting the observed world, artists who create abstract works “search for essence, for some central meaning in what is seen, for a distillation of the character, mood or spirit of nature’s aspects.”2 In a 1984 interview with George Moppett, Graff explains his intimate relationship with nature: “It seemed people could come and go, but the prairie grass would continue blowing and changing with the seasons. It was there before we came; it will be there after. One becomes very much aware of the fleeting aspect of one’s own existence.”3 In the book Abstract Painting in Canada, Ronald Niggard describes the conceptual basis of abstract painting: “the painter [takes] something away from the world in order to generalize it, distort it, intensify it.”4 For the last fifty-five years, Graff has done just that. He personifies the meaning of artist, creating raw expressions of vulnerability: instinctive and unassuming.

1 ARTIST20 ARTWORKS2 DIDACTICSAPPROX. 65 RUNNING FEET2 CRATES

1 Nasgaard, Ronald, Abstract Painting in Canada (Vancouver: Douglas & McIntyre Ltd., 2007). 2 Baur, John I.H, Nature in Abstraction, (New York: the Macmillan Company, 1958), 3 Brennan, Brian, “Les Graff — Homage,” Galleries West, April 30, 2007, http://www.gallerieswest.ca/artists/previews/les-graff---homage/ 4 Nasgaard, Abstract Painting in Canada.


Les GraffPasture/Field/Clouds/#1Oil on Masonite2000Collection of the Alberta Foundation for the Arts

Les GraffRoad to oil Storage TankOil on Masonite2001Collection of the Alberta Foundation for the Arts


ABSTRACTLAND

Les GraffTruck GardenOil on Masonite1992Collection of the Alberta Foundation for the Arts



Home Is Where the Art Is originated at the Art Gallery of Grand Prairie, in commemoration of Grand Prairie’s Centennial. Eighteen artworks, by eighteen local artists were selected from the large exhibition featuring contemporary, local artworks by members of Art of the Peace Visual Arts Association. Art of the Peace is a regional visual arts organization representing artists throughout the Alberta and BC Peace country. This juried exhibition was open to all members of the organization and was selected by an independent jury to showcase contemporary art from the region. The eighteen artists featured in the exhibition are: Lynn Lecorre, Mary Parslow, Ken HouseGo, Angela Fehr, Leslie Bjur, Janice Kretzer Prysunka, Susan Sandboe, Jim Stokes, Lydia Hibbing, Sharon Krushel, Joyce Benson, Lloyd Dykstra, Lynn Nordhagen, Christina Wallworks, Dale Syrota, Kiren Niki Sangra, Linda Henderson and Tannis Trydal.

Curated by Todd Schaber, Art Gallery of Grande Prairie

18 ARTISTS18 ARTWORKS2 DIDACTICSAPPROX. 70 RUNNING FEET2 CRATES


Kanice Kretzer-PresunkaWaiting…for Something Decent on TVPhotograph on Canvas 2012

Dale Syrota Lake O’haraWatercolour on paper 2012


HOME IS WHERE THE ART IS

Lydia HibbingOne Blue BikeInk and pencil crayon on paper 2012

Joyce BensonFilling the BrimSoft Pastel on papern.d.




Carole BondaroffA Prairie AutumnEtching 1997 Collection of the artist

Carole BondaroffCarnival CalgaryEtching1992 Collection of the artist


Although Carole Bondaroff has been a printmaker for many years, her subject matter has remained consistent – she makes art that includes the people, places and events that surround and inspire her. While her prints are firmly rooted in direct experience, they remain highly detailed and whimsical, like a stylized snapshot of the event.

The prints featured in this exhibition are based on travel and performance, two activities that Carole does for pleasure and for work. They show the unique landscape of different provinces, the changing seasons, as well as scenes from concerts, operas, dances and other performances. She is an itinerant artist, travelling from place to place and recording her experiences. Many of her subjects are itinerant artists as well – members of travelling troupes, rodeo performers, dancers and opera singers. Being an artist often requires one to be willing to travel for work and for opportunities, or to travel for inspiration and to better understand the world.

The technical aspects of printmaking is also exemplified in this exhibition. All of the prints displayed were created using a process called intaglio – a technique where a desired image is incised on the surface of a metal plate. The incised line holds ink that is transferred to paper after running through a printing press. Carole incises her lines through an etching process, in which the line is made by using an acid to ‘bite’ into the plate.

1 ARTIST16 ARTWORKS1 VIDEOAPPROX. 70 RUNNING FEET2 CRATES

CELEBRATING THE JOURNEY

Carole BondaroffA Performance Suite – Opera (Hansel and Gretel) Etching1988 Collection of the artist

VISITING ARTIST WORKSHOP OPPORTUNITIES AVAILABLE WITH THIS EXHIBIT.




Craig Friesen and David NielsenA Call to Arms Mixed media2014Collection of the artists

Craig Friesen and David NielsenThe Cyclops Mixed media 2014Collection of the artists

Odysseus is the classic trickster-hero. His story is based on the traditional folktale of the homecoming husband. Odysseus and his 10-year journey home are archetypes, or a recurrent symbol or motif, and therefore are the basis for stories and myths told over the centuries. The basic story of Odysseus is a universal story of longing for and journeying home and thus can be reimagined for contemporary narratives. In the panels presented here, David Nielsen and Craig Friesen have retold the Odyssey as the story of the First World War. The soldier goes to war overseas, faces many dangers and distractions, and is waylaid by injury on his way home. Taken care of by a nurse, he finally returns home to his waiting wife and infant son. Cyclops is shown as a single propeller aircraft, the Lotus-eaters become soldiers bored into apathy by inaction and waiting, the desecrated temple of Athena is converted into the bombed out cathedrals of Europe, the goddess Circe’s poisonous drink becomes the clouds of poison gas, the Underworld, or land of the dead, correlates to the no-man’s land between enemy lines and the Trojan Horse is reimagined as a tank.

Visually, the panels reference both comic book panels and war time propaganda posters, infusing the story of Odysseus with many levels of meaning. All the panels were created collaboratively by Nielsen and Friesen, who worked simultaneously to create these large scale compositions on plywood. The original images have been photographed, scaled down in size and dry mounted for presentation.

Curated by Caroline Loewen, Alberta Society of Artists

2 ARTISTS18 ARTWORKSAPPROX. 70 RUNNING FEET2 CRATES


ODYSSEUS

Craig Friesen and David NielsenPenelopeMixed media 2014Collection of the artists

Craig Friesen and David NielsenPeaceMixed media2014Collection of the artists



Wind has many definitions. In the most literal sense it is the movement of air, which we experience as gentle breezes, warm chinooks, powerful gales, or destructive tornados. But wind is also breath; idle talk or gossip; meaningless rhetoric. One can catch wind of news, whisper words into someone’s ear, or use their breath to create music through a wind instrument. We give our words unto the wind and hope that it carries them where they need be.

Wind also relates to energy, sometimes restrained and captured in the form of wind turbines, and sometimes unrestrained and uncontrollable (run like the wind). Wind is sometimes used in reference to an influence or tendency that cannot be resisted (winds of change) or an impending, immutable situation (which way the wind blows). In this, wind is associated with fate. In mythology the wind is often personified as a god or goddess, as a way to explain the often unpredictable and destructive force.

Wind is a basic element of life. In classical Greek philosophy, air (or wind) is one of the four classical elements. In Chinese philosophy, the life force or energy is called Qi and its literal translation is breath, air or gas; it is the steam rising from rice as it cooks; etymologically it is represented as breath on a cold day. Similarly, in Hindu philosophy prana, life force or cosmic energy, means breath or air.

In this exhibition, Reinhold Pinter explores the many variations of wind from gentle summer breeze to a raging tornado; whispered secrets to the distribution of ideas; and from the mythological West Wind to the Aztec deity Ehecatl.

Curated by Caroline Loewen, Alberta Society of Artists

1 ARTIST14 ARTWORKSAPPROX. 75 RUNNING FEET2 CRATES



Reinhold PinterFire and Wind Distributing Ideas Paper cut painting, acrylic on masonite 2015Collection of the artist

Reinhold PinterMythological West WindAcrylic, charcoal on paper2014Collection of the artist

Reinhold PinterTornado F5Acrylic, charcoal on paper2015Collection of the artist

Reinhold PinterSecret: A Powerful WindPaper cut painting, acrylic on masonite 2015Collection of the artist

WIND

CONTACTXanthe Isbister, Program Manager/Curator

Alberta Foundation for the ArtsTravelling Exhibition Program,

Region 4

Esplanade Arts and Heritage Centre401 First St. SE

Medicine Hat, ABT1A 8W2

[email protected]. 403-502-8586f. 403-502-8589

www.trexprogramsoutheast.ca



Documents

ALBERTA FOUNDATION FOR THE ARTS …...The ALBERTA FOUNDATION FOR THE ARTS TRAVELLING EXHIBITION PROGRAM REGION 4 SOUTHEAST / 2016-2017 EXHIBITIONS WELCOME For the 2016-2017 year, TREX