Annual Report - Alberta University of the Arts€¦ · Melissa Kern 38. Lindsay Paul 39. Transforming the world – Our Alumni Educating Corrie – Corrie Hamm 40 Border Crossings

art + craft + design in our community and beyond

ALBERTA COLLEGE OF ART + DESIGN

Annual Report2013 - 14

2 2013-14 Annual Report ALBERTA COLLEGE OF ART + DESIGN

Year in Review

STUDENT SUPPORT• AcademicAdvisorhired

• StudentHandbookandStudentServicesDirectorydeveloped

• Strategyforraisingfundsforscholarshipsinitiated

• NewpaymentoptionusingAeroplancreditpointslaunched

• DegreeAuditsystemselected–tobeimplementedin2015

• FinancialAidandAwardsAdvisorpositioncreated

• ProposalcompletedforthedesignandbuildofaCreativeCommons–providingmodernlearningandcollaborativespace

FACULTY AND STAFF SUPPORT• Settlementsforcollectiveagreementsreached

DONOR PARTNERSHIPS• NewACADSquaresprogramestablished

ALUMNI RELATIONS• Strategyforalumnioutreachdeveloped,including

thecreationofnewawardsandscholarships

• Newagreementssignedforspecialalumniinsurancerates

• AlumniDiscoveryInitiativedevelopedandfunded–tobeimplementedin2015

COMMUNICATION AND COMMUNITY OUTREACH• Externalnewsletterdevelopedandlaunched

• CatalystMagazinedeliveredtoover8,000households

• Socialmediaengagementincreasedby100%

• SponsorshipsengagedwithSledIsland,TedX,CUFFandNuitBlanche

• 76+eventsplannedandorganizedwithcommunitygroups

• Newwebsitestarted-tobelaunchedinearly2015

• NewpartnershipscreatedwithAlbertaCulture,theCityofCalgary,theCityofAirdrie.

SUSTAINABILITY STRATEGIES

• ComprehensiveInstitutionalPlanwritten

• NewMFAprogramapproved–firstcohort2016

• FundingproposalsunderwayforredevelopmentofMainMall

• Strategicplandevelopmentprocessapprovedtodealwithbudgetshortfalls(seebelow)

• Collegeprogramsalignedwiththeneedsofindustryforknowledgeworkers

• Signatureprojectsannounced-CentrefortheCreativeEntrepreneur,InstitutefortheCreativeProcess,DiversityCentreofExcellence,ContentCreation/FilmCentre,andRuralEngagementPilotProjects

PRIORITY ONE: A STRONG ACADEMIC PLAN

• modernize,renewandalignthecurriculum

• reviewteachingandlearningenvironment

• identifynewandbetterwaystointegratestudentservices

PRIORITY TWO: A ROBUST ENROLLMENT GROWTH PLAN

• establishgrowththresholdsandnewprogramgrowth

PRIORITY THREE: A COMPREHENSIVE ENGAGEMENT STRATEGY

• communitystakeholders

• alllevelsofGovernment

• artsandculturalgroups

• branding

PRIORITY FOUR:

A FINANCIAL PLAN

TO SUPPORT

SUSTAINABILITY

• growthrequiredtobesustainable

• fundingmodelreview(tuitionlevelsandgrants)

PRIORITY FIVE: A SOLID SHORT AND LONG-TERM FACILITIES PLAN

• implementationoflearningspacerenewalsandupgradesthataccommodate21stcenturylearning

• capitalexpansion

Sustainability Strategic Planning Process launched:

12013-14 Annual ReportALBERTA COLLEGE OF ART + DESIGN

COVER: ANDY NICHOLS PHOTOGRAPHY

Accountability Statement 2Board of Governors 2Management Responsibility for Reporting 2A Message from the Board Chair 3A Message from the President + CEO 4Operational Overview 5Performance Measures and Outcomes 10Highlights 13In the Community

ACAD Studio Artist in School Program 14Public Design Program 15

Molding the new generation – Our Faculty The Art of Dress Up – Dee Fontans 16Layers of Meaning – Martina Lantin 18Life in Context – Diana Sherlock 20Culture Shift – Julia Petrov 22Planting Seeds for Success – Kyle Chow 24The Power of Structure – Dennis Budgen 26Work of Body – Heather Huston 28Attached to Sustainable Design – Kerry Harmer 30

Creating change for tomorrow – Our StudentsNature, Tradition & Community – Tamara Himmelspach 32The Promise of Connection – Emily Promise Allison 34

Keeping the wheels in motion – Our management + support staffDan Barnfield 36Cathy Fadden 37Melissa Kern 38Lindsay Paul 39

Transforming the world – Our AlumniEducating Corrie – Corrie Hamm 40Border Crossings – Sarah Nordean 42United in Experience – Brittney Bear Hat 44Playing His Long Game – Carson Long 46Drawn to New York – Jillian and Lauren Tamaki 48Truch Be Told – The Truch Family 50Taking Manhattan – Debra Bishop 42Tough Love – Jennifer Vallis 54Critical Success – The Delichte Brothers 56

Reaping the rewards - Our Award RecipientsSpeak the Truth – Tammy McGrath 58No Voyage Home – Bev Tosh 60A League of His Own – Jeff de Boer 62A Wandering Talent – Elisabeth Belliveau 64

Nurturing art, growing creativity – Our Generous PartnersSpotlight: Enbridge Inc. 66Spotlight: The Calgary Foundation 68Spotlight: ACAD Squares 70

ACAD Awards + Accomplishments 71

Alberta College of Art + Design Financial Statements 73 Independent Auditor’s Report 74Management Discussion + Analysis 75Statements of Financial Position 78Statements of Operations 79Statements of Cash Flows 80Statement of Re-measurement Gains and Losses 81Notes to the Financial Statements 82

ALBERTA COLLEGE OF ART + DESIGN

1407 - 14 AVE NW CALGARY, ALBERTA CANADA

T2N 4R3

403.284.6238 WWW.ACAD.CA


Management Responsibility for Reporting The Alberta College of Art and Design’s management is responsible for the preparation, accuracy, objectivity and

integrity of the information contained in the Annual Report - including financial statements, performance measures,

and supporting management information. Systems of internal control are designed and maintained by management

to produce reliable information that meets reporting requirements. The system is designed to provide management

with reasonable assurance that transactions are properly authorized and executed in accordance with all relevant

legislation, regulations and policies, that reliable financial records are maintained, and that assets are properly

accounted for and safeguarded.

The Annual Report has been developed under the oversight of the Board of Governors and is prepared in accordance

with the Fiscal Management Act and the Post-Secondary Learning Act. The consolidated financial statements

have been prepared in accordance with Canadian public sector accounting standards. The Auditor General of the

Province of Alberta, the institution’s external auditor appointed under the Auditor General’s Act, performs an annual

independent audit of the consolidated financial statements in accordance with general accepted auditing standards.

Dr. Daniel Doz Donald Dart

President and CEO Sr. Vice President,

Finance and Administration

Accountability StatementDecember 31, 2014

The Alberta College of Art and Design’s annual report for the year ended June 30, 2014 was prepared under the

direction of ACAD’s Board of Governors, in accordance with the Fiscal Management Act and ministerial guidelines

established pursuant to the Fiscal Management Act. All material economic, environmental and fiscal information of

which we are aware has been considered in the preparation of this report.

M. Carol Ryder

Chair, ACAD Board of Governors

James Peacock, QCChair

Dan BarnfieldNon-AcademicStaffMember

Dr. Daniel DozPresidentandCEO

Greg ForrestPublicMember

Ian Fitzgerald FacultyRepresentative

Margaret-Jean Mannix Vice-Chair

Cynthia P. Moore PublicMember

Sheila O’Brien PublicMember

Natasha Pashak PublicMemberandAlumnae

Carol Ryder PublicMember

James Stanford PublicMember

Susan ThomasPublicMember

Sue Anne ValentinePublicMember(retiredDecember2013)

Teresa Tam StudentMember

*AS AT JUNE 30, 2014

Board of Governors*


OneofACAD’sstrategicgoalsisStewardship and Sustainability,challengingtheCollegeanditscollaboratorstoembraceprosperityobjectivesdesignedtobothmaketodaybetterandtoinspireanewenergywithintheinstitution.Prosperityinthiscontextreachesbeyondmonetarygainandisunderstoodthroughabroader,balancedandinterdependentlensthatmeasuresincrementalsuccessesaseconomicprosperity,socialprosperityandculturalprosperity.

The2013-2014AnnualReportfocusesonthesustainabilityoftheCollegeandhowwearebuildingthecapacitytocontinuetobeavitalcatalystinthecreativethinkingandenergyofourCity,ourProvinceandglobally.Wehavean88-yearhistoryofsuccessandtheprofileswithinthisreporttellthestoryofhowartistsanddesignersshapeourcommunities,provideinnovationintoday’sknowledgeeconomy,andcreatecontentthatinfluencestheworldaroundus.

Aswereflectontheyearandouraccomplishments,itisclearthatwehaveanexcitingfuture.Iinviteyoutobeapartofthatfuture.

M.CarolRyderChair,BoardofGovernors

A Message from the Board Chair


Weoftentalkabout“What”wedotohelpourstudentsrealizetheirpotentialinart,craftanddesignmostnotably,providethelearningtoolsandthedisciplineofpracticeforourstudents.Whatisoftenmoredifficulttoarticulate,isthe“Why”ACADexists?WhatisourinstitutionalimpactontheAlbertalandscapeandwhatistheimpactourgraduateshaveontheeconomic,socialandculturalprosperityoftheProvince.

Thereisnodoubtthatourstudents,faculty,staffandalumnihavepositivelyandsignificantlyimpactedissuesrelatedtowellbeing,corporateinnovation,effectivecommunication,enhancementofpublicspaces,andeducation.Wehavefirst-handevidence,asyouwillseewhenyoureadthroughtheinspiringstoriesinthepagesofthisreport,thatbyembracingthecreativitythatisallaroundus,wewilllivericherandmorerewardinglives.

Weinviteyoutoreadaboutouraccomplishmentsoverthepastyear.Wealsochallengeyoutoexplorethecreativitythatisinyouandaroundyou,makingtheconnectionbetweenhowtheexperienceofartanddesignismakingyourlifeandtheworldallaroundusbetter

Dr.DanielDozPresident+CEO

A Message from the President + CEO


Foundedin1926,ACADhasbeenamajorcontributortoCanada’svisualcultureinthe20thcentury,withmanyofitsgraduatesgainingsignificantnationalandinternationalreputationsasartists,designersandcreativeleaders.Withanannualgrantofjustover$12million,anannualbudgetof$20.6millionandemployingover200staff,ACADprovidesaccrediteddegree-standardeducationandlearningopportunitiesto1,200studentsenrolledinfull-andpart-timestudiesinawiderangeofart,craftanddesignstudiodisciplines.ThisyearmarkedamajormilestoneforACAD.Inadditiontoofferingcredentialedundergraduatedegreesinavarietyofprogramareas,theCollegewasapprovedtoofferitsfirstgraduateprogram,aMastersofFineArtinCraftMedia,makingittheonlycollegeintheProvincetoofferandconferuniversity-levelundergraduateandnow,graduatedegreeprograms.

ACADisoneofonlyfourartanddesignschoolsinthecountryanditistheonlycollegeintheProvincewithaprovincialmandatetodeliverartanddesigneducation.TheCollegeisalsooneoftheonlyCanadianspecializedartanddesignhighereducationinstitutionstobeentirelyaccreditedbytheNationalAssociationofSchoolsofArtandDesign(NASAD).ThisinternationaldesignationopensnewpathsforACADundergraduatestudentstopursuegraduatedegreesandbringsnewstudentstoAlberta.BroadeninginternationaloutlookandinternationalizingaCVarecompetitiveadvantagesindemandbyorganizationswhilealigningwiththeAlbertagovernment’sdesireforAlbertanstobeglobalcitizens.

Finally,theCollegeisrankedasoneofthetoppost-secondaryinstitutionsinjobplacementandcareersatisfactionparticularlyinthedesigndegreeprogramswhere95%ofourgraduatesfindemploymentwithinthefirstyearofgraduating.IthasalsobeenhometosomeofthemostexcitingandauthoritativevoicesinCanadianartwithmanyprofoundlyshapingthecontemporaryartmovementnotonlyinAlbertaandCanadabutaroundtheworld.Infact,ACADhasmoreGovernorGeneralAwardwinnersthananyotherpost-secondaryinstitutioninCanadaandourdesignstudentswinmoreprestigiousawardsthananyotherartanddesignschoolinNorthAmerica.

Operational Overview


ACAD VISION STATEMENT

TheAlbertaCollegeofArt+Designwillbeapreeminentcatalystinstitutionforculturaldevelopmentlocally,provincially,nationallyandinternationally.Wewillmanifestunconditionalexcellenceinourprograms,practicesandpoliciesinalaboratoryenvironmentthatiscommittedtounconstrainedinquiryandcollegiality.Asaplaceofculturalresearch,weareallcolleaguesonajourneyofdiscoverywhileenhancingourleadershiprolewithintheculturalfield.Weaspireonlytothehighestlevelofexcellenceinwhatweendeavor,measurednotbyourpastaccomplishmentsbutbyourimaginationsandwhatishumanlypossible.

ACAD MISSION STATEMENT

TheAlbertaCollegeofArt+Designisaleadingcentreforeducationandresearch,andacatalystforcreativeinquiryandculturaldevelopment.Weengagetheworldandcreatepossibilities.

VALUES

ThemembersoftheACADcommunityholdasetofcomplementaryvaluesthatarefundamentaltotheCollege’sidentityandoperations.

• Wevaluethecreativeprocessandallthatisimpliedbythat.

• Wearedeeplycommittedtoexperimentation,freeinquiry,research,andtheevolutionofculture.

• Wedemandexcellenceinourpractices,oursupportforourstudents,facultyandstaffandourexternalcommunities.

• Oursupportforhumanandprofessionaldevelopmentisreflectedinourpolicies,practicesandprograms.

• Wevalueourroleinthesociety;weseekinnovativepathsforparticipationfortheCollege,ourstudents,alumniandfacultyandstaff.

• Wevaluethejoyandgoodhumorthatderivesfrombeingacreativeinstitution;webelieveinacelebrationofourcreativeprocesses.

• Wevaluecalculatedrisk-takingandentrepreneurship.

• Wearealllearners,workingtogetherinatransparentenvironmentthatiswillingtoembracechange.

• Wevaluediversityinallrespects,includingphilosophical,cultural,lifestyle,aswellasdefinitionsthataremoreconventional.


Background image: Sarah Nordean, Walking Loops

Average Studio Size 15

STUDENTS

took extended studies classes for credit(2013/14 academic year)

213STUDENTS

SCHOOL PROGRAM

School of Visual Arts

School of Communication Design

School of Critical and Creative Studies

Sculpture Drawing

Photography Painting

Print Media

Illustration

Communication

Design

Liberal

Studies

Ceramics Fibre Glass

Jewellery + Metals

Media Arts + Digital Technologies

School of Craft and Emerging Media

Schools +Program Areas

Bachelor of Design

69

122

Bachelorof Fine Arts

54 CRAFT +

EMERGING MEDIA

52 COMMUNICATION

DESIGN

85 VISUAL ARTS

C

M

Y

CM

MY

CY

CMY

K

Inforgraphic2014_AR.pdf 2 2014-12-11 12:38 PM


CHINA 13

SOUTH KOREA

3INDIA

2

Top 5 Countries

18 - 24

Total graduates

191alumniover 7,500

KENYA

5

International

Age

Gender

Full/part time students67

Total students

1,225 (enrolled in 2014 Fall session)

(enrolled in 2014 Fall session)

By program area

BFA BFA BFABFA BFA BFA BFA BFA BFA BDES BDES

CE

RA

MIC

S

DR

AW

ING

PA

INT

ING

PR

INT

ME

DIA

SC

UL

PT

UR

E

PH

OT

OG

RA

PH

Y

VIS

UA

L

CO

MM

UN

ICA

TIO

NS

D

ES

IGN

FIB

RE

GL

AS

S

JE

WE

LL

ER

Y

+ M

ETA

LS

ME

DIA

AR

TS

+

DIG

ITA

L

TE

CH

NO

LO

GIE

S

11 11 117

14

2825

8 7

17

52

part time23%

full time

(3 or more courses)

77%

male28%

female72%

VENEZUELA

4

0 - 17 25 - 34 35 - 44 45 - 54 55+

1.5%1.5%3%

77%

15%3%

Canadian Citizens + Permanent Residents: $4,479.90 for 1 year of study

International Students:for 1 year of study$14,499.90

Tuition(2013/14 academic year,

full course load)

Graduates of 2014(May 2014 graduating class)

Studentsin 2014

$414,000(in 2014)

Scholarships

C

M

Y

CM

MY

CY

CMY

K



CHINA 13

SOUTH KOREA

3INDIA

2

Top 5 Countries

18 - 24

Total graduates

191alumniover 7,500

KENYA

5

International

Age

Gender

Full/part time students67

Total students

1,225 (enrolled in 2014 Fall session)

(enrolled in 2014 Fall session)

By program area

BFA BFA BFABFA BFA BFA BFA BFA BFA BDES BDES

CE

RA

MIC

S

DR

AW

ING

PA

INT

ING

PR

INT

ME

DIA

SC

UL

PT

UR

E

PH

OT

OG

RA

PH

Y

VIS

UA

L

CO

MM

UN

ICA

TIO

NS

D

ES

IGN

FIB

RE

GL

AS

S

JE

WE

LL

ER

Y

+ M

ETA

LS

ME

DIA

AR

TS

+

DIG

ITA

L

TE

CH

NO

LO

GIE

S

11 11 117

14

2825

8 7

17

52

part time23%

full time

(3 or more courses)

77%

male28%

female72%

VENEZUELA

4

0 - 17 25 - 34 35 - 44 45 - 54 55+

1.5%1.5%3%

77%

15%3%

Canadian Citizens + Permanent Residents: $4,479.90 for 1 year of study

International Students:for 1 year of study$14,499.90

Tuition(2013/14 academic year,

full course load)

Graduates of 2014(May 2014 graduating class)

Studentsin 2014

$414,000(in 2014)

Scholarships

C

M

Y

CM

MY

CY

CMY

K



2013-2014wasthefirstfullyearofourrollingComprehensiveInstitutionalPlan(CIP),aplandevelopedbasedontheCollege’sStrategicPlan:InspiringPassionateLearningapprovedlatein2012.MuchhasbeendonesincetheapprovalofthestrategicplanandthisfoundationalchangehasshapedsignificantopportunitiesfortheCollegebothinsideandoutandhasfocusedattentiononcreatingthebeststudentlearningexperience;anexperiencethatisinternationallyrecognizedasoneoftheleadingandmostrespectedvoicesforart,craftanddesignintheworld.BelowarehighlightsofsomeoftheinitiativesundertakenbyCollegestaffandfacultyinsupportofournewstrategicdirections.

Performance Measures and Outcomes

REALIZING STUDENT POTENTIAL IN ART, CRAFT AND DESIGN

In2013-2014,we:

• Setandmettargetsfordomestic,internationalandunderrepresentedstudentpopulations–(9.2%aboriginalstudentbody).

• Optimizedschedulingtimetableandsawchangestoenrollmentinhighdemandprograms.

• Increasedresponsetimetoapplicantsthroughtheadmissionsprocess.

• Alignedclassroomsizetofitcurrentfacilitiesthrougharegistrardirectedroomaudit.

• InitiatedtheCreativeCommonsprojectaspartofourteachingandlearningstrategy.

• Creatednewrecruitmentcollateralincludingaviewbook.

• Continuedtorecruitnationallyandprovincially.

• Continuedtoconductportfolioreviewsinkeytargetareas.

• DevelopedaspecificrecruitmentstrategyforthenewMFAgraduateprogram.

• Initiatedareviewofallpoliciesandprocedures.

• EstablishedamentalhealthTaskForcewithACADSA.

• Initiatedacollege-wideacademicadvisingstrategyandhiredanewadvisor.

• Hiredarecentgraduatetodevelopanewstudenthandbook.

• Initiatedanewstudentorientationcommitteeanddevelopedaneworientationprogramforstudents.

• Identifiedandinitiatedtwonewsupportprogramsforstudents.

• Submittedandreceivedapprovalandfundingfortwo2+2degreecompletionprogramsanddualcreditopportunitieswiththeCalgaryBoardofEducation.

• ComprehensivereviewofawardsandscholarshipscompletedandrecommendationsimplementedincludingthehiringofadedicatedFinancialAidandAwardsAdvisor.

• CompletedreviewofAlumnirelations.

GOAL ONE


DELIVERING PROGRAM EXCELLENCE AND PUSHING THE BOUNDARIES OF RESEARCH AND CREATIVITY

In2013-2014,we:

• Completedaten-yearhiringplanforacademicaffairs,onethatachievesandmaintainsratio.

• Implementedteaching,researchandleadershipawards.

• EstablishedaResearchEthicsBoard.

• ImplementedAcademicRank.

• Reviewedandupdated12existingpolicyandproceduresincludingfacultyevaluation,minors,curriculumchanges,programsuspension,andresearchethics,etc.

• Continuedtodevelopthevisitingartist/scholarprogram.

• DevelopednewpartnershipswithAmbroseUniversity,OldsCollege,RedDeerCollege,TheAlbertaLibrary.

• ImplementedMoodlecampus-wide.

• EstablishedanewAcademicCouncilstructure.

• ReceivedapprovalfortheMFAgraduateprogram.

• OfferedthefirstprogramfromtheEducatorsArtInstitute.

• OfferedalargenumberofexhibitionsandsymposiumsthroughtheIKG.

GOAL TWO


GOAL THREE

GOAL FOUR

INSPIRING CREATIVITY AND INNOVATION IN THE COMMUNITIES WE ENGAGE

In2013-2014,we:

• Establishedanewgovernmentrelationscommitteeanddevelopedanewstrategy.

• WorkedwithCampusCalgaryinstitutionsonanumberofinitiatives.

• Reviewedthemandateandrolesdocument.

• DevelopeddiscussionpapersforanumberofACADcentresofexcellence.

• ContinuedtoworkontheCentrefortheCreativeEntrepreneur.

• IdentifiedfundingsourceforAboriginalinitiatives.

• Developedandimplementedanewawarenessandrecruitmentstrategy.

• Initiatedanewwebsiteproject:Publicwebsite,InfoLabandStudentPortal.

• CompletedandwidelydistributedtheCatalystmagazine.

• Updateddonordatabase.

• Developedafunddevelopmentstrategy.

• Hosted76eventsbothinternalandexternal.

• LaunchedACADSquares.

• Launched“intheMaking”,ourfirstalumnishow.

• DevelopedandfundedDiscoveryInitiativewithalumni.

• DevelopedandinitiatedSustainabilityPlanningprocess.

• Reviewedallendowments.

ENSURING SUSTAINABILITY AND STEWARDSHIP OF OUR RESOURCES

In2013-2014,we:

• Implementedleadershiptraining.

• EnhancedhumanresourcepracticeswithintheCollege.

• Completedemergencynotificationsystem.

• Implementedaudititems.

• CompletedhighlevelplanningfortheCreativeCommonsprojectintheMainMall.

• Developedandimplementedanumberofinstitutionalpoliciesandprocedures.


Alumni,faculty,studentsandstaffcontinuetomakeasignificantdifferenceandcontributiontothesocialandculturalprosperityoftheProvinceandnation.TheCollegeisrankedasoneofthetoppost-secondaryinstitutionsinjobplacementandcareersatisfactionparticularlyinthedesigndegreeprogramswhere95%ofitsgraduatesfindemploymentwithinthefirstyearofgraduating.CriticalMass,forexample,isaninternationaladvertisingandmarketingagencyinCalgarywithclientssuchasNissanandNike.Thisfirm,startedbyanACADgraduate,continuestohireasignificantnumberofACADgraduateseachandeveryyearand,employsover1,000individualsworldwide.F&DSceneChangesLtd.issupportingAlberta’sthrivingfilmindustryandbuildingbackdropsforBroadwayandsupportingemploymentopportunitiesforACADgraduates.HeavyIndustriesisfabricatingmetalworksacrosstheprovinceandsupportingtheimportantworksofartistssuchasthebirdsnestintheEskerFoundation,the“Head”sculptureinfrontoftheBowbuildingandotherpublicartsuchastheBlueRing.

Ourinstitutionmattersandforover88years,wehavebeeneducatingcreativeandculturalleaders.TheCollegehasearnedareputationofprovidingapremierestudio-

basedenvironmentthatallows“Creatives”toexploreself-expression,refinetheirartisticanddesigntalentsandmostimportantly,think“outsidethebox”.Ourexperentiallearningenvironmentfacilitatesinnovativethinkingandcreativeproblemsolving.Weprovidethemwithacombinedprofessionalanduniversity-levelenvironmentthatinspiresthemtoachievetheirfullpotential.

Over7,500strong,ACADgraduatesbecauseoftheiruniversity-leveleducation,goontoMAandPhDprogramsaroundtheworld,toteachatinternationallyrecognizedartanddesigninstitutionsandtoengageinprofessionalandfulfillingcareersasartists;filmproducers;architects;digital,industrialandmediadesigners;animatorsandgamedesigners;communicators;administratorsand,yes,CEO’s.ManyofourgraduatesarealsoactivelyengagedontheinternationalstagebringingprofiletotheCollegeinveryconcreteways.

Thestoriesthatfollowdocumentouryearandtellthetalesofourgraduates,ourfaculty,ourstudentsandouralumni;howtheyarecreatingandcontributingtoastrongfoundationtobuildabetterAlberta;anAlbertathatpresentsaglobalculturalimagedefinedbycreativity,artsandculture,entrepreneurship,andleadingedgeproblemsolvinganddesign.

HighlightsJuly 1, 2013 to June 30, 2014


In the Community

TheACADStudioArtistinSchool(SAIS)Programisaone-of-a-kindpartnershipwiththeCalgaryBoardofEducation(CBE)that

promotesartsfacilitatedlearning,augmentsstudentlearningandengagement,andexemplifiestheintegratedandinterdisciplinaryfutureofartseducationinAlberta.TheinitiativeplacesrecentACADgraduatesasStudioArtistsintoschoolsthroughoutCalgary.

Theprogramhasbeenahugesuccess,generatingsubstantialbenefitsfortheschoolsandstudioartistsincluding:

• enhancementoftheschools’capacitytoincorporateartanddesignactivityintocurriculumlearningandextracurricularpursuits

• studioshavebecomegatheringplacesfordiscussion,criticalthinkingandthegenerationofnewideas

• art-basedactivities(e.g.,visualart,music,danceanddrama,photography,creativewriting)providestudentswithanalternativewaytoengagewithcorecurriculumsubjects(Science,Math,EnglishandSocialStudies),emphasizinghands-oninquiry,exploration,experimentation,communication,reflectionandpersonalengagementthroughartisticmedia

• art-makingfostersskillsincriticalthinking,problem-solving,creativeinnovation,digitalandtechnologicalfluency,collaborationandleadership

• providesrecentACADalumniwithvaluablepost-graduateemployment,realworldexperience,andachancetodevelopnotonlytheircreativepracticebuttheirteachingandfacilitationskills.

Studioartistsarehand-selectedforparticipationintheSAISprogrambyACADandCBEfromthepoolofrecentACADgraduates.Artistsarefinanciallysupported(viahonorarium)andinsuredbytheCollege,andenjoycontinuedaccesstoACADfacilities.Severaloftheartistshavenotedthattheexperiencehasgiventhemanunprecedentedopportunitytointeractwiththecommunityinnewways,topresenttheirworkinnewvenuesandtoreceivefeedbackfromabroaderaudience.

Perhapsthestudentssumitupbest:

Student: “She (the artist) has a lot of great ideas, great big crazy ideas. She makes things happen...I like to go where she’s working to watch her work...She helps me be more creative and she inspires me. She’s a big role model. It feeds our minds and makes us want to do crazy things too.”

Student: “I’ve let my creative juices flow more. I notice myself having more ideas and I’m opening myself to letting those ideas in. I was more enclosed before. There was like something in front of me saying, “don’t go there.” Now I notice myself going there. It’s a gift.”

TosupporttheACADStudioinSchoolsProgrampleaseemaildonations@acad.caorcall403-284-6238.

ACAD STUDIO ARTIST IN SCHOOL PROGRAM

Building Bridges, Promoting Creativity

Photos courtesy of ACAD


PUBLIC DESIGN PROGRAM

Formorethan20years,ACAD’sPublicDesignProgramhasworkedwithnot-for-profitclientsfromacrosstheprovince.OrganizationsrangingfromtheAlbertaChildren’sHospital,theCanadianRedCrossandtheCalgaryBoardofEducationhavebenefitedfromtheworkofagenerationofCommunicationDesignstudents.

OriginallyinspiredbythepracticumprojectattheSchoolofVisualArtsinNewYork,ACAD’sPublicDesignProgrampairsfourth-yearstudentsfromtheSchoolofCommunicationDesignwithclientswhoapplytoparticipate,andhavebeenapprovedby,courseinstructors.Studentsgetrealclientsandclientsgethigh-qualitydesigncommunicationsforafeeof$500.00perstudent.

“Theprogramgivesstudentsvaluableclient-relationexperience,”explainsIanFitzgerald,ACADfacultymemberandoneofthedrivingforcesbehindtheprogram.“Thechosenorganizationsgainafreshperspectivefromstudentswithnearprofessionalskilllevelswhilecontributingtoaveryworthwhileeducationexperiencethatisallwrappedupinacost-effectivepackage.”

StudentMeghanFenske,whohasbeenworkingonacampaignwiththeAlbertaCivilLibertiesResearchCentreagrees.

“ThePublicDesignProgramhasbeenanenrichingexperiencebecauseithasgivenmetheopportunitytoworkwithrealclientswhilehavingguidancefrommyinstructorwhoisaprofessionalinthefield.”

“WithwhatI’velearned,Ifeelconfidentinworkingwithclientsinthefuture.”

Partofthesuccessoftheprogramisdrivenbythefactthatitgivesstudentspracticalexperienceinachievingsolutionstoactualcreativecommunicationandgraphicdesignproblemswhileprovidingcharitablearts,service,community,environmentalandnot-for-profitorganizationsthebenefitofqualitydesignassistanceatareasonableprice.

Young,energeticandtalentedstudentsareassignedtoworkcloselywithorganizationsontheirproject.Facultyinstructorsoverseetheprocesstoensurequalityworkiscreated,andthatdeadlinesandbudgetsaremet.Thisisapracticumexperienceforstudents.Thecoursehelpsthemtodevelopprofessionalismbyusingbusinessandinterpersonalskillswithclients,fellowstudents,instructors,printersandothersuppliers.

FormoreinformationonACAD’sPublicDesignProgrampleasevisitacadpublicdesign.ca.

Alberta Civil Liberties Research Centre, poster designed by Meghan Fenske, student in the Public Design Program, ACAD


Dee Fontans

DeeFontans’passionforwearableartgoesbacktoherchildhood,growingupasaPuertoRicanAmericaninNewJersey.“Iwasaboutfiveandstarteddressingupinallkindsofcrazythings,puttingeverythingonmyhead,”sherecalls.

ThepassionenduredasshestudiedjewelleryandfashiondesignatNewYork’sParsonsTheNewSchoolforDesign,andthenreceivedherBFAdegreefromtheStateUniversityofNewYorkatNewPaltz.InherlastyearatNewPaltz,doingherjewelleryworkingoldandsilver,she

brokeherhandinapolishingmachine,makingitdifficulttocompleteherfinalwork.

Ratherthanbeingdiscouraged,Fontansrevealedanadaptability,ablithego-with-the-flowattitudethathasbecomehersignature.Shedecidedtoexplorealternativematerials,suchasrubber,paper,plasticgelsandevenfoods.Shestartedtousetheseforherfirstwearableartexhibitin1985,andhasbeendressingupsuccessfullyeversince.

FontanscametoCalgaryin1988,theyearofthecity’sWinterOlympics,andthetownwasquicklyenergizedbyher

whirlwindpresenceasshethrewherselfintothelocalartscommunity.ShemadeaconnectionwiththeAlbertaCollegeofArt+Design,whereapart-timegigteachinginExtendedStudiesseguedintoacontractsessionalposition,teachingintheJewellery+Metalsprogram,andtheWearableArtcourse.

Withcross-disciplinaryzeal,shehasbecomeacreativeforcetobereckonedwith,asajeweller,enamellist,performanceartist,fashiondesignerandevenapoet.Shetakesherroleas“culturalambassador”seriously(shewasnamedassuchwhenCalgary

THE ART OF DRESS UP

As a device to explore society, Dee Fontans uses the human form as subject

matter and canvas for her Wearable Art.

SCHOOL OF CRAFT + EMERGING MEDIA

Molding the new generation Our Faculty


becameCanada’s“culturalcapital”in2012),connectingtothepublicthroughexhibits,televisionandsocialmediatocreateengagement.

FontansproducesartworkunderthetitleofOutingTheBody,whoserelatedpiecesfusetogetherjewellery,fashionandperformanceart,investigatingtherelationshipsbetweentheart,wearerandaudience.Shehasorganizedart-fashionperformancesatArtCentralandArtGalleryofCalgaryandtheEPCORCentreforthePerformingArts.Andin2000,shepartneredwithagroupofACADstudentstoproducethefirstArtWEARness,“across-disciplinarywearableartexhibitioninmotion.”

ArtWEARnesshasbeenruneveryyearsince,typicallyviewedbyaudiencesofmorethan800.

Asaneducator,Fontanshastakenhercreativespirit,driveandexperienceintotheclassroomtoinspireandengagestudents.“Iwanttonurturetheircreativespirits,”shesays.“Iletthestudentsdowhattheyneedtodoandguidethemonthatjourney.Ibelieveinhelpingtocreatepeakperformers—peoplewhodoabsolutelythebesttheycanwiththeskillstheyhave.”

Whilebecomingapeakperformerdoesn’tnecessarilyguaranteestudentswillmakeacareerofart,shepointsoutthatthiskindofeducationprepares

them“forabetter,moreenlightenedlife.Whattheydevelopasartistscanbeeasilytransferredintootherareasoftheirlives.”

Whenitcomestoherownpractice,Fontanshasnoshortageofideas,transformingobjectsandobsessionsfromherordinarylifeintowearableart.SheisworkingonexpandingherPumpingFashionseries,aimedatthosewitha“bikefaddish”andapenchantfor“ridingontheedge.”Sheturnsbikepartsintoeco-friendlygarb,suchasinner-tubebracelets,sprocketnecklaces,inner-tubegarmentsanda“fascinatorwithlights.”

Top left: Pumping Fashion Martini, 2013, made from up-cycled bike parts–inner tubes, sprockets, chain, stainless steel. Photo: Joe Kelly

Top centre: Bike Love, from the Pumping Fashion series made with rose quartz and silver. Photo: Joe Kelly

Right: Sprocket, from the Pumping Fashion series made with blue agate, brass chain + sprocket. Photo: Joe Kelly

Bottom left: Tea Set, from the Wearable Edible series made from tea bags, silver, and magnets. Photo: Charles Lewton-Brain

18 Catalyst ALBERTA COLLEGE OF ART + DESIGN

SCHOOL OF CRAFT + EMERGING MEDIA


ForMartinaLantin,creatingearthenwarepotteryisa“continualprocessofcallandresponse.”Astheartistmakespotteryshetries“tomaintainastateofmindfulnessandactivemaking.”

Theresultisa“handmadeobjectthatstepsoutsidetheordinary,whileremainingautilitarianobject.Ihopeitgivestheuserpauseandtheopportunitytoseetheirsurroundingsmoredistinctly,”saysLantin,“andthatitwillencouragethemtoexplorefurther.Perhapsitsformwillcatchtheireyeayearlaterorfiveyearslater,justbecauseofthewaylightishittingitatthatmoment.”

Thereisagoodchanceitwill,asLantinhasbeenperfectinghercraftoverthelast20-plusyears,combiningtraditionaltechniquesandmaterialswithtoday’smoderntechnologyandaccesstoinformation.Herworkfallsintotwostreams.

Oneisthemakingoffunctionalobjectsthatcaneasilybeintegratedintoobjectsinthehome.Theotherisherinstallationwork,wheresheharnessesherresearchintothehistoryofceramicsandbringsthatforwardintoa21stcenturycontext.

Lantin’seducationandcareerthusfarhasbeenasfluidashertechniqueonthepotter’swheel.Afterstudyingceramics,sculptureandearlyRenaissancearthistoryattheStudioArtCenterInternationalinFlorence,theMontrealnativewentontogetherBachelorofArtfromEarlhamCollegeinRichmond,Indiana,didpost-baccalaureatestudyatEUCSYDinDenmarkandreceivedherMasterofFineArt–CraftfromNSCADUniversity.

Duringherearlycareer,Lantinfoundherselfwithoutaccesstowoodkilns,theatmospherichigh-temperaturekilnsthat

Martina LantinLAYERS OF MEANING

Martina Lantin uses a multilayered process to impart surface beauty

and tell a successive narrative on her asymmetrical earthenware art.

Photo location: Junktiques Ltd.


hadbeenthecentralfocusofherpractice.Soshebegantoconcentrateonearthenware,amore‘portable’mediumoftenfiredinelectrickilns.Themoresheexplored,themoreshefellinlovewiththefine-grainedrichnessofwhatshecalls“chocolateporcelain.”

“Withotherfiringtechniquesthecolouroftenexistsintheglazeandthatglazesitsontopoftheclay,”sheexplains.“WithearthenwareIwasreallyinterestedinhowthesurfaceoftheactualmaterialscaninteract.Inowusemultiplelayersofslips[liquidclays]andglazestointegratewithintheclaylayer.Throughthesematerials,asuccessivenarrativeisbuiltonthesurfaces.”

Earlierthisyear,LantinstartedteachingawiderangeofceramicscoursesatACAD.Beginningwiththeintroductorycourses,shetriestomakethelessonslessaboutrulestofollow

andmoreaboutgivingthestudentsachancetoexplorethroughplayandfindnew,individualizedresolutions.

Lantin’sownworkinprogresscontinuestoincorporateplayandexploration.SheisworkingwithaU.S.arthistoriantoturninvestigationsofearlyOttomanarchitecturaltilesintostudiorecreations.SheisalsopreparingforanexhibitofherworkatACADinthespring.

Lantinwantstoimparttoherstudents“anattentivesenseofadventure,”backedbyastrongworkethic,tocarrythemthroughthetimestheymayfeeldoubtabouttheircreativepaths.“Ifsomeoneisdiscouraged,Itellthemthattheyneedtofollowtheirheart,”shesays.“Youhavetostaytruetowhatfeedsyouasanindividualandfindawaytomakethatwork.It’squestionofsustainability.What’ssustainableforyouasanindividual,intermsofyourlifechoices?”


Diana Sherlock

LIFE IN CONTEXT

Diana Sherlock believes in turning students into independent and creative

thinkers, so they are prepared for a fast-changing and challenging world.

DianaSherlockisdedicatedtohelpingstudentslivetheirlivesandcareersin“context.”“That’swhatarttheoryandarthistorydo,”saystheinstructorintheAlbertaCollegeofArt+Design’sCritical+CreativeStudiesDepartment.“Theyallowustothinkaboutwhatwedoinabroadercontextandtodevelopvocabularysoweareabletoarticulatewhatwemakeandwhywemakeit.”

ToputSherlock’sownprofessionallifeintocontext,shegraduatedfromthearthistoryandstudioprogramsattheUniversityofCalgaryinthemid-1990s

andwentontoexhibitherinstallationart.Butherinvolvementinartist-runcultureledtoagrowinginterestincuratorialpracticeandvisualartscriticism,writingforavarietyofartpublicationsandexhibitioncatalogues.

Sherlockhasservedonseveralartist-runcentresandcommunityartsboards,ofteninthecapacityofprogrammingcoordinatoranddirector.Asafreelancecurator,shehasproducedexhibitionswithStrideGallery,Calgaryandco-curatedtheAlbertaBiennialofContemporaryArt2002fortheEdmontonArtGallery(nowtheArt

GalleryofAlberta).In2003,sheguestcuratedtheSuperModernWorldofBeautyexhibitionfortheBanffCentre’sWalterPhillipsGallery.

Andsince2001,shehastaughtatACAD,drawingonherexperienceinprofessionalartsadministrationandcuratorialpracticeforhercoursematerial.Sheoftenfocusesspecificallyondisplayculturesandmuseumandexhibitionpractices,whichexamine“howwepresentthingsandhowthatchangesoraffectsthemeaningsofthosethings.”


SCHOOL OF CRITICAL + CREATIVE STUDIES

21Catalyst ALBERTA COLLEGE OF ART + DESIGN

SherlockbelievesthatwhatACADdoesbestistoturnstudentsintoindependentandcreativethinkers,anecessityinafast-changing,challengingworld.“We’renolongerinastableeconomicandpoliticalsituationwhereyoucangetajobthatlastsfor25yearsandretirewithapension,”sheexplains.“Allcareerpathstodayinvolverisk.Peoplehavetothinkquicklyandcreativelyontheirfeetandbeabletobringnewthingstothetable.Creativethinkers,thoughtheymaybemakingmaterialobjects,areprimarilyengagedinaknowledgeeconomy.Theyhelpbringcreativeanddiversesolutionstomanyoftheworld’sproblems.”

LikemostACADinstructors,Sherlockisabletostayrelevanttostudentsbecauseshestaysbusywithherownprofessionalpracticeasacuratorandcriticalwriter.SheiscurrentlycompletingacataloguefortheIn the MakingexhibitionshecuratedfortheIllingworthKerrGalleryatACADlastyear.Sheisalsopursuingresearchforaproject,whichexaminesthehistoryof,andconnectionsbetween,theWestGermanCeramicsindustryandtheceramicclayindustriesinSouthernAlbertaintheearlyandmid-20thcentury.

ForSherlockthevalueofanarteducationislessaboutthemonetaryrichesitmaybring,andmoreaboutitsintangibleinteriorvalues.

“Artandculturehelpustoleadfullerlives,”sheexplains.“Itcanmakeusmoreknowledgeable,richerhumanbeings,andourstudentswillbeabletocontributebacktosocietyandcultureinimportantwayswemightnotevenbeabletoidentifyyet.Theyhavethecapacitytodevelopnewmodels,newwaysoflivingandnewwaysofworking,andsomaytakeonchallengesthatseeminsurmountabletoothers.”



SCHOOL OF CRITICAL + CREATIVE STUDIES

Julia PetrovCULTURE SHIFT

Calgary is no longer just a base

for exploring the mountains. Julia

Petrov believes that a vibrant art

and culture scene is transforming

people’s experience of the city.

JuliaPetrovnoticedamarkedshiftintheculturalclimateofherhometown.ShehadreturnedtoCalgaryin2012,afterreceivingherMAinHistoryofDesignandMaterialCultureattheUniversityofBrighton,inEnglandandherPhDfromtheUniversityofLeicester.

“ThecityusedtobeaplacewhereIfeltlikeanoutsiderforvaluingthingslikecultureandart,”shesays.“ButInoticedthatmanyofmypeerswhohadgoneawaybecausetherewasnothingfortheminthecityhavebeguntocomeback,becausethingshavechanged.”

Sheadds:“NewartistsfindtheycanstayinCalgary,andthattheycanhaveasustainablefuture,intermsoffindinga

careerandanicheforthemselves.ACAD,withitsgraduates,hasreallyhelpedtofuelthisshift.”

PetrovpointsoutthatpeopleattractedtoCalgaryfortheeconomicboom,fromVancouver,Torontoandotherpartsofthecountry,bringwiththemexpectationsaboutfestivals,artgalleriesandotherthingstodoculturally.“Peoplehaveachoiceofplaceswheretheylive,”sheexplains.“Acityhastooffermorethangoodjobs.Therehastobethingsthatpeoplecandoontheiroffdays.”

Inheroffdays,Petrovismostlikelytobethinkingaboutfashionsdisplayedinglasscases.“I’mreallyinterestedinfashionandtheintersectionoffashionasanobjectinmuseums,”shesays.“Oncesomeonehasstoppedwearingsomethingandit’sinamuseum,howdoestheinstitutionteachaboutwhatitwasliketowearit?”

Thisisaquestionthatherstudentscananswer,sincePetrovhasservedasasessionalinstructorinAlbertaCollegeofArt+Design’sCriticalandCreativeStudiesDepartmentforthelasttwoyears.Sheteachesarthistory,visualculture,humanitiestheoryandmaterialculture.


Hercourseshelpstudentsfindtheirplaceinthelargerartuniverse,whetherit’sbydiscoveringtheyarepartofaheritageandtradition,orunderstandinghowdifferentphilosophicalapproachesandcriticaltheorieshelpthemtoseetheworldinnewways.

“Studentsincraftcoursesalsobenefitfromthis,”shesays.“Inmaterialculture,Ishowthemthedifferentwaysinwhichhumanbeingsinteractwiththematerialworldandthewaythatobjectscanhelpustounderstandcultureandsociety.Sowhentheyreturntotheirpractice,theycan,Ihope,usesomeoftheseapproachestounderstandthatobjectsarereallyimportantculturally,sociallyandeconomically.”

IfPetrovkeepsherstudentsimmersedinaworldofideas,it’sbecauseshekeepsherownideassharpthroughregularpublication.ShecontributedachaptertotherecentlypublishedFashioninMuseums(Bloomsbury)andhasanarticleduetoappearinthejournalofFashionStyleandPopularCulture.Shealsoplanstoreturntocuratingexhibits,assheusedtodofortheHumanEcologyClothingandTextileCollectioninEdmonton.

Inthemeantime,shenolongerfeelshesitantaboutinvitingfriendstovisitherinCalgary.“Itusedtobethatyouwouldstayinthecityatnightandleaveduringthedaytoseeotherstuff,likethemountains,”shesays.“Nowyoudon’thaveto.Weactuallyhavethingstodointown.”



SCHOOL OF COMMUNICATION DESIGN

Kyle ChowPLANTING SEEDS FOR SUCCESS

By cultivating the

hardy plant of design

thinking, Kyle Chow

has been able to do

high-level branding

work for a wide range

of clients and grow his

own business.

ForKyleChow,launchingasuccessfulbusinessisabouttakingtheseedofdesignthinking,plantingitearlyandtendingtoitpatiently.

“Frommypointofview,designeducationspeakstowaysofsolvingproblemsthat’sdifferentfromhow

otherpeopledoit,”saysthe31-year-olddesignerandeducator.“Youhavetoidentifywherethere’ssomethingmissingfortheuser.That’showIlaunchedmybusiness:IsawtherewasaneedandIusedmyexperienceasadesignertofulfillit.”

Theseedforhisbusiness,Plant,begantoforminMooseJaw,Saskatchewan,whereChowgrewup.Hebegantogreenhisthumbandhonehisbotanicalskillsworkinginalocalgardeningshopanddevelopinghisowngardeningplots.

AtthesametimehenurturedastrongcreativestreakbyswitchingfromhisinitialfocusinuniversityonbusinesstotakingadegreeincommunicationdesignattheAlbertaCollegeofArt+Design.WhiledoinghiscourseworkheagaintilledthesoilforfuturesuccessbystartingtododesignandbrandingworkforCombineDesign&Communications.

Aftergraduating,in2009,hebecameapartnerinCombineandreturnedtoACADayearlatertoteachcoursesintypographyanddesignfundamentals.Inhelpingtoguidestudentsthroughtheirdesignprograms,hebroughthisgardener’spatiencetobear.

“Istartwiththefundamentals,givingthembaseknowledge,sothere’snobreakingtherules,atfirst,”Chowexplains.“Inthesecondandthirdyearthere’smoreflexibility.Atthesametime,Iassesswhat’sgoingonintheworldofgraphicdesignandassociatedtechnologies,andadaptwhat’srelevanttoourprojects.


It’sallaboutbeingflexible,establishingthefundamentalsandthentailoringprojectsthataregoingtohelpwithreal-worldapplications.”

FlexibilitywasalsothekeytogrowingPlant.In2011,hestartedsellingtheterrariumshewascreating,drawingonhisgreenhouseexperienceanddesigneducation.Theyincludedhardylocalplantsandnaturalmaterials,makingthemperfectminiatureenvironmentsforthewinterbound.“Wespendagreatamountoftimeandenergywithinfourwalls,”saysChow,“andalivingenvironmentallowsustoexperiencetheoutdoorswheninside.”

Hecultivatedhisbusiness,amassinganimpressivecustomerlist,untilhecouldlaunchabricks-and-mortarstore.PlantopenedinMarch2014,offeringaselectionofterrariums,indoorgardeningandlandscapingsupplies,naturalartwork,functionalvintagegoodsandmuchmore.TodayChow’sbusinessisblossoming.

“Althoughitiseasytogetcaughtupinaesthetics,greatdesignthinkingisbuiltuponasolidstructure,formandexperience,”hesaysinaninterviewwithMarketCollective,whichpromotesCalgaryartsandculture.“ThesearesimilarprinciplesIapplywhencreatingeachterrarium.Theskillsarealsoveryhelpfulwhencreatingthemanypracticalmaterialsasmallbusinessneeds:branding,website,careinstructions,etc.”

Chowhasmanagedtofindwork-lifebalanceandsustainabilityintheirpurestform—wherepassionandprofessionalexpertisesupportandevolvewitheachother,intoahardyplantthatcansurviveinthechallengingAlbertaclimate.




THE POWER OF STRUCTURE

During his 30-plus years of teaching at ACAD, Dennis Budgen has helped

shape a program that feeds Alberta’s thriving design industry with talented,

ready-to-work graduates.

Dennis Budgen



DennisBudgenrecallsthepitchfromacollegerecruiterathisnorthernAlbertahighschoolinthe1970s.“Hesaid,‘Ifyouwanttopracticedesign,gototheAlbertaCollegeofArt.Ifyouwanttotalkaboutdesign,gotouniversity,”recallsBudgenwithalaugh,adding,“Thathasn’tchangedalltheseyearslater.”

HehimselfhasplayedamajorroleinensuringnotonlyareACADdesignersandillustratorshighlyemployable,theycanadaptandthriveinachangingindustry.Aftergraduatingfromthecollegein1979,hestudiedinNewYorkundersomeoftheworld’sbestillustrators.ReturningtoCalgary,hestartedatwo-prongedcareer,doinghisaward-winningnaturalhistoryillustrationsforawidevarietyofpublishingandinstitutionalclients,combinedwithteachingintheCommunicationDesignprogramofACAD.

“We’vespent30yearsbuildingthecomprehensivecurriculumwenowhave,”saysBudgen,pointingoutthatthestructured,progressiveapproachofadedicatedfour-yearcurriculumstandsinstarkcontrasttoastudenthaphazardlychoosingfromamenuofchoicesinauniversityliberalartsprogram.“Forexample,thefirstprojectastudentisassigned,inDrawing115,connectsandisrelevanttotheverylastprojectinfourthyearCharacterDesign.”

Withthisdedicatedfocus,ACADhassupplieddesigngraduatesthathavekeptCalgaryandAlberta’sgrowingdesignindustryflourishing,incompaniesrangingfromdigitalagencyCriticalMasstogamedeveloperBioWare.“TheimpactthatdesignersfromACADhavehadontheeconomyissignificant,”Budgeninsists.“Ouralumnihavecontributedbillionsofdollarstoit,inaprofessionthatisbothenvironmentallyfriendlyandsustainable.”

“Self ”, 2000. Photo: Dennis Budgen


BudgeninitiatedthestreamstructurefortheVisualCommunicationDesigncurriculum:firstbystartingtheillustrationstream.Hethenbuiltmostofthecurrentillustrationprogramandwithhiscolleaguescreatedthestructureforallthecurrentacademicstreams:graphicdesign,advertising,characterdesignandillustration.“Overtheyearsofdevelopingthestreams,weatonetimemademoreofaseparationbetweenillustrationanddesign,”hesays.“Butwefounditworksbesttocreateahybrid.Thebeststudentscanexcelatadvertising,graphicdesignorillustration—they’rejustgoodthinkers.”

Headds:“Ourgoalistopreparethestudentsfora30-to-40-yearcareerinthedesignindustry,givingthemthevisualandcriticalskillstoadapttothemarketplace.”

Aspartofadaptingthechangingconditionsofhislife,Budgenhasreducedhisfulltimeteachingload,sohecanconcentrateonthedemandsofhisownillustrationpractice.

Heisbuildinganewwebsiteforhimself,thoughwithtrepidation.Healreadyhasalltheworkhecanhandle,especiallywithhighdemandforhisinformationillustrations.

Amongmanyprojects,BudgeniscurrentlyillustratingabookonPacificsalmonandpreparingforanexhibit,inMarch2015,oflarge-scaleworksfromhisexpeditiontoEllesmereIsland.Fouryearsago,heaccompaniedtheGeologicalSurveyofCanadatotheircampbyCarlRitterBayonthenortherntipoftheisland.

Basedonhissketchbookdrawingsofwildlifeandlandscape,theexhibitworkinvolveslayeredimagesincharcoal.“Tome,thisprocessofcapturingthree-dimensionalformonalargetwo-dimensionalsurfacefeelssculptural,”saysBudgen.“Itrytoexpressnotonlythesubjectmatterbutalsotheintangibleelements,suchastheincessantwind,thebleaknessofwinterandthevastnessofthehumblingenvironment.”

Top: Carving, 1992, ink line + watercolour

Bottom: Only So, 2013, charcoal


Heather Huston

SCHOOL OF VISUAL ART


“Therearemanypathsyoucantaketosuccess,”saysHeatherHuston,whoteachesprintmaking,fibreartanddrawingatAlbertaCollegeofArt+Design.“InourSchoolofCraftandEmergingMedia,we’vegivenalotofthoughtabouthowwecanprovidestudentswithmultiplemodelsforsuccesswithanartsdegree.”

Toaccomplishthis,especiallyinapragmatic,bottom-lineagethatdoesn’tnecessarilyencouragecareersinthearts,theschoolistappingintoitsvastpoolofalumniandtheirwide-rangingexperiences,whetheritismakingcraftsandsellingthemthroughonlineshopsorcraftshows,orworkingasafreelancedesignerorillustrator,orswitchingtoarelatedcreativefieldlikemusic,ortakingadayjobtosupporttheir“artaddiction.”

“Manyofour[former]studentsarehappyandengagedinacreativeindustryandstillmakingart.Ithinkthat’sagooddefinitionofsuccess,”shesaysoftheiradmirablework-lifebalance.

Herowncareercouldserveasonemodelforsuccess.AfterreceivingaBFAfromtheUniversityofCalgaryandanMFAfromtheUniversityofAlberta,Hustonhasdevelopedavibrantpractice,creatingprintsandsculptures,manyofwhichfindmeaningintheeveryday,includinginterestingstructuresabstractedfromcookie-cutterneighbourhoods.

Showingwidelyinsolo,groupandjuriedshowsinCanadaandabroad,Hustonhasthrownherselfwiththesamegustointoherteaching,

WORK OF BODY

Through her art and

teaching, Heather

Huston explores how

to find the right work-

life balance and to

cope with the physical

challenges thrown at

us by life.


joiningACADin2007,afterteachingprintmaking,drawingandfundamentalcoursesatheralmamaters.Sheisadamantthatoneofthemostimportantthingsherstudentscanaccomplishistobe“awareofdifferentmodesofthinking,”deepeningtheirunderstandingoflifeandart.

“Whatwedoisnotlimitedtocreatingprettythings,”shesays.“Beyondtheaestheticsanarteducationcreatesa‘thinkingeconomy.’Youlearntoanalyzethings,asktherightquestions,howtopresentyourartworkanddefendit,andhowtogiveandreceiveconstructivecriticism.Theseareportableskills,nomatterwhatyouwindupdoing.”

Hustonalsoemphasizesthatartistperspectiveprovidesavaluablelensforlookingatandunderstandingtheworld.Inherowncase,sheusesittocreateabodyofworkabouthowthebodysometimesdoesn’twork.

Copingwithadoublewhammyofmultiplesclerosisandinflammatoryarthritis,sheexploresherconditionsthroughThe Body, Stranger series.

“Mineisavoicethatgivesanexperienceofchronicillness,talkingaboutlivingwithitandmovingthroughtheworld,”saysHuston.“Wefeellikeourbodyisourown.Butwhathappenswhenitisn’tdoingthethingsyouwant,whenyourbodyisn’tyour

own?Thisworkexploresvulnerabilityandhumanness,providingavoiceforakindofexperiencethatmaybenewtopeople.Ortheymayrelatetoitbecausetheyaresufferingthemselvesorknowsomeoneelsewhois.”

Hustonhopestogrowthisbodyofsilkscreen,andetchingandChine-colléprintswithmoreinvolvedandlargerartworks,bringingoutdifferentaspectsofthephysicalandmentalchallengesofillness.

Asshedoes,shewilldelvedeeperintothekindofartisticsuccessthatreallymatters.


Kerry HarmerATTACHED TO SUSTAINABLE DESIGN

Kerry Harmer advocates that designers explore

the sweet spot of opportunity where sustainability

and consumer demand intersect.

Thekeytosustainabledesignis“attachment.”Ifyoudesignadurableproductthatpeoplevalue,thentheywillkeepitlongeranditislesslikelytojointhemass-produceddreckchokingourlandfills.

“Attachment”figuresprominentlyinthetheoriesofproductdesignerandAlbertaCollegeofArt+DesigninstructorKerryHarmer.“Mypracticeisframedwithintheseideasofsustainabilityandexploringhowpeoplegetattachedtotheirobjects,”sheexplains.“Whenpeopletalkaboutobjectstheyareattachedto,theyareoftentalkingaboutthingsthatthey’vealwayshad,orhadformorethan20years.”

Designersneedtoexplorethesweetspotofopportunitywheresustainabilityandconsumerdemandintersect.Iftheycancreatewell-madeproducts,withenvironmentallyfriendlymaterialsandprocesses,then“peoplewillbecomeemotionallyattachedtotheobjectsandkeepthemlonger,sotheyarenotsotransient.”

Harmerherselfhassustainedinterestincreatingproductsoflong-termvaluethroughouthereducationandcareer.Followingastintinthemusicbusiness




intheUnitedKingdomandCanada,shehasalistofacademiccredentialsthatincludesaBFAfromConcordiaandaMastersofIndustrialDesignfromtheUniversityofAlberta.

AtACADHarmerteaches3Dobjectdesign,variousdesignconceptandfundamentalscoursestonon-designmajors,aswellassustainabilitythroughresearch-drivencreativeprojects.Shestressesitisagreattimetobeinvolvedinthefield,as“designthinking”hasbecomethedarlingofbusiness,medicine,educationandotherprofessions.

“Ithinkothersarebeginningtounderstandwhatdesignersactuallydobeyondmakingthingsorcreatingimages,”shesays.“That’sthevalueIreallytrytoinstillinstudents,thatdesignthinkingskillswillbebeneficialtoyouwhereveryougointheworld.Itrytogetstudentstousetheirdesignskillstothinkaboutentrepreneurshipandwheretheywillgoaftertheireducation.”

Thevaluethatdesignbrings,fuelledbythedemocratizationofnewtechnologies,suchas3Dprinting,hashelpedtogivelifetothe“makermovement,”wherecreatorsandmanufacturersbandtogetherinlocalco-opspacestocreatethingsthatoftenhaveacraftappeal.

“Peoplearegettingreallyexcitedaboutbeingmakersagain,”saysHarmer.“Ithinkthattiesbacktosustainabilityandlocalproduction.Wecanseethesereferencepointstocraftandhoweconomiesexisted100yearsago.Iseethisasawaytocreatenew,emergentandmoresustainableeconomies”

Inherownpractice,sheisdesigningfurniture,fashionsandotherproducts,throughKerryHarmerDesign,thatsheisplanningtoputintosmall-scaleproduction.Sheisespeciallyinterestedindevelopingalineofchildren’sproducts,suchaslamps,hooks,racksandheightmeasures.

“InsteadofthejuvenileDisneymotifsoftenusedinchildren’sfurnishings,”shesays,“Iworkwithmorelocalizedandmeaningfuliconographythatwillencourageattachmentratherthancreatethrowawayproducts.Theideaisthattheseobjectscantranscendchildhoodandalsobeusedinadultlife.”




Tamara Himmelspach

A3Dexplorationofidentityandhistory;naturerevealedthroughthegardenofinterests,andmaterialsusedinwork—thesearesomeofTamaraHimmelspach’spreoccupationsasanartist.

“Rightnow,lookingbacktotradition,andbringingthisintoacontemporarycontext,isreallyinfluencingmypractice,”saysthe21-year-oldsculpturemajor.“Myworkisverysociallyandcommunallybased.There’sadialoguebetweennatureandtradition.Ienjoyworkingwithintherealmofsemiotics.”

Himmelspach’sdesiretoexploreherfamilyhistoryandherownidentitythroughartwasgivenaboostattheendofhighschool,inLloydminster,Saskatchewan.ShedecidedtotraveltoGermany,whereherfather’sfamilycamefrom,andstaywithaverycreativehostfamily.“Livingtherereinforced

theideaIshouldgotoartschool,”sherecalls,“andthatIwouldbehappierinaplacewhereIcouldletmycreativeexpressionsflow.”

Thenewfoundinterestinherfather’sancestryalsosparkedadesiretoexplorehermother’sCreeaboriginalroots.HimmelspachbroughtthetwindesireswithhertotheAlbertaCollegeofArt+Designfouryearsago.Herloveofcommunityisoneofthereasonssheeventuallydecidedtofocusonthesculpturedepartment,withthestrongbondsbetweenstudentsandfaculty.

Withtheencouragementoffacultyandfellowstudents,shedecidedtomakeconnectionsoutsidehercircleintothewidercommunity.Earlierthisyear,Himmelspachtooktheleadwithagroupofstudentsindevelopinganunderutilizedsectionofthecollegegroundsintoavibrantcommunity

NATURE, TRADITION & COMMUNITY

Sculpture major Tamara Himmelspach uses her practice and passions to

explore her roots and make connections to the wider world.

Creating change for tomorrow Our Students



garden.Ityieldedaharvestofpeppers,lettuce,spinach,kale,Swisschard,cucumber,carrots,beans,beets,strawberries,garlicandmanyherbs.Growingthegardensignalledthedevelopmentofthestudentsaswell,intomature,politicallyandculturallyawareadults.

Notonlydidthegardenprovideaspacetoupliftthespiritsofstudentsandothervisitors,itputHimmelspachintocontactwithbusinessownersandresidentsinnearbyKensington.“Itwasnicetotalktofellowgardenersandtheotherpeopleintheareawhoareinterestedinwhatyouaredoing,”shesays.“You’reswappingknowledgeandstories,andperhapsinspiringotherstomaketheirowngardens.”

Atthesametime,HimmelspachhasbeenactiveinACAD’saboriginalcommunity,takingtheleadagaininbuildingupitslongdormantresourcecentre,makingmusic,

documentaries,storiesandmoreavailabletotheschool’saboriginalstudents.

AlthoughsheisgraduatingattheendofApril,shevowstokeeponworkingonthegarden,makingsurethatotherstudentswillkeepitgoing,includingthepartofthegardenusedasagalleryspaceforstudentwork.Shealsowantstoensurethattheresourcecentrecontinuestogrowforupcominggenerationsofstudents.

AsHimmelspachlooksaheadtolifeafterschool,sheisn’tworriedabouttheprospectofworkingtokeepherartpracticegoing.“Nomatterwhereyouareandwhatyou’redoing,youcanfindinspiration,whetherit’sthepeopleyoutalktoorarayoflightcomingthroughthewindow,”shesays.“Onceyou’reinthatframeofmind,you’realwaysanartist.”


Creating change for tomorrow Our Students

THE PROMISE OF CONNECTION

Respecting the intelligence of her audiences, sculpture student Emily

Promise Allison creates multidisciplinary work that is challenging but

approachable, with many points of access.

Emily Promise Allison

“I was off to see [ACAD] art student Emily Promise Allison’s exhibit. Rather than a physical exhibit, Allison took the stage that night, dancing with countless audience members—how much more interactive can a performance get? She created an outdoor night scene, complete with fake snow and a throne to give the night a truly ethereal feel, as she took on a princess-like look. I stood curiously contemplating what entrancing conversations she was quietly having with each successive dance partner as they waltzed on with her, mesmerized.”

—SarenaDharshi,“ALookBackatMyFavouriteCalgary2012Event—NuitBlanche,”HuffingtonPost.

Recallinghereight-hourMy Mother Calls Me a RabbitperformanceatNuitBlanche,Allison,inthefourthyearofthesculptureprogramattheAlbertaCollegeofArt+Design,says:“Iwasenergizedbythisexperience.Iwasfascinatedbyhowvulnerablepeoplemadethemselvestomeaswedanced.”

Findingimaginativewaystoconnecthasbeenathemeinthe26-year-oldperformanceartist/sculptor/

photographer/children’spedagogue’slife.GrowingupintheruralAlbertantownofPenhold,Allisonwouldperformforherpets,wieldabatontocomposemusicinthunderstormsandwriteshortstories,imaginingafutureasauthor“EmilyPromiseMarthaVeronicaAllisonfromPenhold.”Shewouldofcoursebeholdingapenonherbooks’dustjackets.

Followingtimespentstudyingtheatreandactinginperformances,AllisondecidedtowriteadifferentcreativefutureforherselfandenteredACAD

Photo location: The Calgary Zoo



in2010.Lastyear,shewasacceptedforanexchangeprogramattheGlasgowSchoolofArtinScotland,whereshewasabletoindulgeherpassionforothercultures.“Icompletedaself-directedprojecttherecalledMiniature Monuments,”sherecalls.“AseriesoffivemonumentswerepermanentlyinstalledaroundGlasgowbasedonstoriesIgatheredfromcitizensaboutpeoplefromtheirpast,whodeservedrecognition.”

Whatconnectshermultidisciplinarypracticeisastrongbeliefinthehumanimagination,respectingtheintelligenceofaudiencesby“creatingworkthatisintellectuallychallengingbutalsoapproachable,withmanypointsofaccess.”

Thisadmirableambition,aswellashereducationalaspirations,wererecognizedrecentlywhenorganizersinformedAllisonthatsheisthe2014recipientoftheQueen’sGoldenJubileeScholarshipfortheVisualArts.The$5,000annualscholarshipisbestowedona“youngAlbertavisualartistwhoshowsextraordinarytalentandpotentialandwhodemonstratescleareducationalortraininggoals.”

AsshelookstolifeaftergraduationnextApril,Allisoncertainlydoeshavecleargoalsinplace.SheisplanningtotraveltoP.E.I.,NewOrleans,Belgiumandelsewheretoshowherwork,givelecturesanddoperformanceart.“Ialsowanttocontinuemyeducationineducation,”shesays.“Mypassionis

teachingchildren,whichIhavebeendoingforsevenyears.Iwanttodothisfulltime,developingaspecializedcurriculumbasedonintensiveresearch,usingelementsofvisualartandperformanceartaseducationalmodels.”

Withherpractice,Allisonhasstayedtruetoherchildhooddesiretobecomeacommunicator.“Formeartisimportantbecauseofitsabilitytocommunicatewithoutlanguage,andinthiswayitbecomesauniversaltongue,”shesays.“IfIweretohaveanysuperpower,itwouldbetospeakanylanguage.PerhapsI’malreadydoingthissubconsciouslybybeinganartist.”


Keeping the wheels in motion Our Management + Support Staff

Please describe your position at ACAD and what you enjoy most about it.

IhelpyoungpeoplewhoareinterestedinattendingACADwiththeapplicationprocedure.IalsovisithighschoolsthroughoutAlberta,tellingthemaboutACAD,ourprograms,ourdegreesandanswerquestionsaboutthebenefitsofattendingACAD.It’sreallygreatbecauseIgettoconnectwithteenswhowanttomakeacareeroutofart.I’vemetstudentsasyoungas12whoknowtheywanttobeanartistwhentheygrowupandthatisreallyrewarding.

What is your favourite part about ACAD?

Iloveinteractingwithyoungartists–theyhavesomuchdriveandenergy!ItssuperfulfillingtoseetheprogressioninthemastheygothroughtheirprogramatACAD.Also,ACADhasaterrificcreativeenvironment.Everyoneissupportiveofeachother,everybodytriestheirbestandstaffgooutoftheirwaytohelpeachother–youdon’tseethatinlargerinstitutions.

Do you own any student work? Please describe your favourite piece and why.

Yes!!Tonsofit.IalwayspickupnewitemsattheShow+Sale.Myfavouritepiecerightnowisaglitterygopherpaintingbyanartistwhograduatedafewyearsago.

What type of visual art do you enjoy?

Iloveagoodgraphicnovel.

Why does creativity matter?

Wefacealotofproblemsintoday’sworldthatcouldn’thaveeverbeenpredicted.Tofixtheseproblemsweneedcreative

thinkers.Solutionswehad20yearsagodon’tfitanymoreandweneedpeoplewhocanthinkaroundthem.

Artistscontributetheirskillsbyopeninguptheconversation,pushingboundariesandlimitsandforcingustothinkoutsidethebox.

As a society, do we value art?

Wevalueart,butnotenough.It’susuallythefirstthingwethinkaboutcuttinginabudget-consciousworld.Butthinkabouthowimportantarthasbeenthroughouthistory.It’sthefirstthingthat’sdestroyed(particularlyinwars)whentryingtocontrolasociety.Andit’sthefirstthingwecovettotryandprotectwhenwe’reatwar.

We’retouchedbyarteverywhere,whetheritsatypefaceinthenewspaperyou’rereading,apicturedecoratingyourlivingroom,orthechairyou’resittingon.Somebodyhadtocreateallthesethingsbutwedon’tgenerallythinkaboutarthavingthisenormousimpactonusandthewaywelive.

WeneedtostartrecognizingACAD’svalueinthecreativeeconomy.We’vebeenaroundfor88yearsandthinkabouthowmuchvaluewe’veaddedtooureconomy,notjustlocallyeither,butoutsideofCalgaryandevenCanada.Calgaryisn’tjustaboutoilandgas–we’recontributingrealvaluethroughentrepreneursstartingartanddesignbasedbusinessesthatgeneraterealjobs,newbusinessesandrealmoney.It’sexcitingbecausewhoknowswherewe’llbeintenyears.AndartistsarealwaystheonesthatgrabholdandadoptnewwaysofbeingandI’mexcitedtobepartofthatchange.

Dan BarnfieldAdmissions Officer



Iprocessallpaymentsforcollege,exceptpayroll.

Thefavouritepartofmyjobispreparingthescholarshipchequeseachsemester.It’ssoamazingtoseethewaywe’rehelpingstudents,toknowthatwearefacilitatingtheireducation.I’vehadachancetomeetsomeofthescholarshiprecipientsandthatreallytouchesme.

Theteacherinmeenjoyshelpingthefaculty.PeopleknowtheycanemailmeandIgetthemtheanswer.

Also,Imustsaythatitsfun,aswellasfulfilling,totellmyfriendsaboutACADandallthatishappeninghere.WorkingheremakesusambassadorsofACADandgivesustheabilitytopromoteallthegreatthingsthatourstudentsandfacultydo.

How did you land a job at ACAD? Do you have an artistic background?

Istartedtempingherethreeandahalfyearsagoandthatturnedintoapermanentposition.AndI’msogladitdid!Iwasinaccountingatthestartofmycareer,thenwentintoeducationandtaughtelementaryfortenyears.NowI’mbackintoaccountingbutlovethatI’malsobackinaneducationalenvironment.

Iquiltbutdefinitelydon’tconsidermyselfanartist.MyfamilyisveryartisticthoughandonedayIwilltakesomecourseshere.WhenIhavesometime!


TheShow+Sale,especiallytheglass.IalsolovetheMainMallandseeingthenewpiecesofstudentworkshowcasedtherethroughouttheyear.

Ilovethepositiveenergyhere.Withallthecreativitygoingonaroundhereit’simpossibletobenegative.Alsothepeoplethatworkherehavethisincredible“can-do”spirit.Everyonesupportseachotherinsteadofbeingcompetitive.Itsreallyupliftingtoexperience.


Yes,Ihavepiecesathomeandatwork.Irecentlygotmarriedandmyco-workersboughtmeanabsolutelylovelyglassvase.


Ihaveahighappreciationforglass–there’samysteryandmagicaroundit.Butbeingaquilter,Iamdrawntowardsfibreandfibre-basedwork.


Wetendtoforgettheimportanceofart.It’sawaytogetkidsenergized,ameanstomotivateanyagegroup,aformofrelaxationforseniorsandawaytoletgooftheday’schallenges.

Cathy Fadden

Accounts Payable Coordinator


Keeping the wheels in motion Our Management + Support Staff


Idevelopandoverseethecredit-freeprogrammingforadultsandteensthroughourExtendedStudiesdepartment.Weofferroughly60–70courseseachsemesterthatpeoplegenerallytakeforpersonalinterest.

WealsoofferaPre-CollegeProgramforteensthatrunstheentiremonthofJuly,whichismyfavouriteprogrambecauseIgettoseeyoungpeoplegettingexcitedaboutstudyingartanddesign.Itsgreattobeabletotellteensandtheirparentsaboutthevalueofanartdegreeandthatit’snotalwaysaboutbecomingapracticingartist.Therearemanydifferentcareeropportunities–education,administration,thegallerysystem,writing,architecture.

AlotofpeoplethattakeourExtendedStudiescourseshaveverylittlepreviousexperiencewithmakingartanditsrewardingtoseethemdevelopandexperimentwiththeircreativityandgetexcitedaboutwhattheyaredoingandwhatthepossibilitiesareforfutureendeavours.

What seems to be the trend these days in art courses?

Drawingandpaintingcontinuetobepopular,especiallyobservationaldrawing.Also,handmadeobjectssuchasjewelleryandceramics.


Thereisalotofcreativeenergyhereandthere’salwayssomethinghappening.Iloveseeingwhatthestudentsareupto,seeingtheirworkandtheirprogression.

IlikethatACADisgainingvisibilityandgettingbetterknowninthecommunity.


Yes!Iamalwaysbuyingthingshere,especiallyattheShow+Sale.

MyfavouritepieceisapapersculpturethatIpurchasedsixyearsagobyadesignstudent.Iloveitbecauseit’ssmall,cleanandsimple.


Iamreallydrawntowardsfigures,althoughnon-traditionalfigures.Wehavealotoffiguresandpeopleinourcollection.MyhusbandisaphotographerandIusedtopaintandtakephotographs,sowetendtogravitatetowardscollectingphotography.


Ithinkartroundsusoutaspeople.Creativethinkinghelpsusseethebiggerpicture,makesomethingoutofnothing,beflexible.It’ssoimportanttobeabletoseethingsdifferently,workthroughproblemsorobstaclesinadifferentwayandhavingacreativepractice,whetherit’sahobbyormore,helpsusdothis.

Arttellsthehistoryofsocietythroughvisualmeans.It’simportanttotellfuturegenerationswhathappenedinourtime,howwereactedtothingsandwhatwasimportanttous.Weneedtocontinuevaluingandsupportingartasasociety.

Do people value art and design?

ThingshavedefinitelychangedinCalgaryinthesevenyearsthatI’vebeenhere.There’smorediscussionaboutart,morepeopleinterestedinit.Howeverfundingcutstoartprogramsareahugedetriment.ACADhelpspeopleseetheimportanceofcreativitythroughitsdegreeandcredit-freeartanddesignprogramsandoutreachintothecommunity.

Melissa KernProgram Developer


Lindsay PaulManager, Alumni + Donor Engagement


ImanageourACADSquaresmembershipprogram,donorevents,cultivatecommunitypartnershipsandsponsorshipsandmaintainAlumnirelations.EssentiallyIcreateconnectionsamongstavarietyofourinternalandexternalstakeholdersthatfacilitateslearningandentrepreneurialopportunitiesinthearts.Notwodaysareeveralikeandit’sneverboring!


IlovemanyaspectsaboutworkingatACAD,butthehighlightsalwaysincludeinteractionsandopportunitiesformentorshipwithourstudents.WehavesomeamazinglytalentedindividualshereandIamfortunatetobeinapositiontoengagewiththemandwatchthemgrowintheirartisticexpression.That,andIworkwithsomeofthemostdedicatedandskilledstaffandfacultysoIlearnagreatdealfrommysurroundingsonadailybasis.

Do you own any student work? Please describe your favorite piece and why.

OfcourseIdo!Iusuallypurchasequiteafewpiecesayear,rangingfromsmallerworksfromdepartmentfundraiserstolargerworksfromtheShow+Sale.Ioftenpurchasepiecesforfamilyandfriends,butshamelesslythesegemsoftenendupinmypersonalcollection.

It’shardtochoosejustone,butmynewfavoritepiecethatIjustpickedupisaredandblackfrostedglassvasemadebyoneofourglassmajors.


Whenmaking,Iammostdrawntoprintmedia,fibreandceramics.

Whenadmiring,IhaveanotableweaknessforblackandwhiteworkandhaveacollectionofetchingsmadebyhistoricalandcontemporaryCanadianartists.


OnaphilosophicallevelI’llparaphraseElliotEisner-creativitythroughlearningintheartshastheabilitytoexpandourconsciousness,shapeourdispositions,satisfyourquestformeaning,promoteindividuality,establishconnectionswithothersandfacilitatethesharingofcultureandthecollectiveexperience.

Humanshavetheuniqueabilitytoleavealegacy;arecordofculturaldevelopmentthatistransmittedprogressivelyfromgenerationtogeneration.Criticalandcreativethinkinghavebeennotedasessentialskillsinthe21stcenturyanddivergentthoughtisthefoundationforinnovation,challengingbeliefs,buildingnewmentalschemataandgeneratingcuriosity.Weareallmakersinonesenseoranotherandcreativityisessentialtoprogress–canyouimaginehowboringitwouldbetonotuseyourimagination?


Corrie Hamm

GrowinguponanacreagejustwestofCarstairs,Alberta,CorrieHammwrestledwhethersheshouldpursueacareerinartoreducation.Shefinallybowedtothe“safeassumption,”pursuingthe“moreso-calledsecurerouteofteaching,”gettingaBAandthenaBachelorofEducationfromtheUniversityofCalgary.

Aftereightyearsofteachingshedecidedthatthepathnottravelledwastheoneshereallywantedtopursue.HammenteredtheAlbertaCollegeofArt+Designin2009.Althoughshestartedstudyingdesign,shesoonsawthatherabilitiesandinterestslay

elsewhere.“Iendedupinthedrawingprogram,”sherecalls,“becauseitseemedtheplacewherestudentsweremostencouragedtoexploreandtakerisksinavarietyofmedia.”

ShehighlightsthesupportshereceivedfrominstructorandVisualArtsChairRichardBrown,atacriticaltimeinherstudies,feelingtheclassroompressurestoproduceinhersecondyear.“IwouldhavedroppedoutifIhadn’tmethim,”shesays.“Hehasagiftforreadingeachofhisstudentsandguidingthemwithcustommethods.OnadayIwasfeelingparticularlydoubtful,hetoldme,‘Whateverwayyoudoitisthe

rightway.’Thiswasliberating,becausehegavemefullpermissiontotestthingsout.Ilearnedtomakeallmyowndecisions.”

Hammbegantofindherownvoiceasamultimediaartist,whichannounceditselfinvariousexhibitions,includingEntitled,partoftheMovingImages+SoundCollectiveFestivalheldattheGlenbowMuseumin2013.Theshowbroughttogethervariousworksinvolvingarthistoryandslidefilmcollages,andthedevicesbuilttoviewthem.

Askedhowshewoulddescribewhatshedoestosomeoneataparty,

EDUCATING CORRIE

A strong believer in art and art education, Corrie Hamm wants to transform

both with her work and research.

Transforming the world Our Alumni


Hammresponds,“I’vebeenworkingforanintroforwhatIdoforvariousperspectivesofart,because,youknow,yourgrandmaisgoingtoneedadifferentdescriptionthansomeonewhoisnerdingoutontheory.IguessImightstartoffwith,‘I’mcuriousabouttheunknownandtheunknowable...”

HammhascarriedforwardthiscuriosityaftergraduatingwithaBFAwithdistinctionin2013.Shecontinuestodevelopherartpractice,andworksasagallerytechnicianatIllingworthKerrGalleryatACADandavisualartsinstructorattheWildflowerArtsCentre.Asateachersheexperimentstofindunconventionalwaystohelpstudentsdeveloptheirowncreativeprocesses.

Notsurprisingly,Hammisastrongbelieverinthevalueofartandarteducation,especiallyinthefaceofcontinuedgovernmentcutbacks.“Arthastheuniqueabilitytobebothattheheartofcultureandsomeplaceoutsidelookingin,”shesays.“Itassistsinexploringourrelationshipwiththeworldandofferswaystomovepastourcurrentknowledgeandunderstanding.”

Shepointsoutthatthebudgetcutters’lackofappreciationmaygobacktobadartclassexperiencesintheirformativeyears.“Iwouldliketobeanadvocateforchangeinhowartisapproachedinprimaryandsecondaryeducation,”shesays.Thinkingofherownexperience,Hammadds:“Outofmythreeundergraduatedegrees,thefirsttwoweremainlyaboutparroting.Artschoolistheonethatfeltlikeaneducation.”

Top: Digital still from the multi-plane animation Entitled, 2012.

Right: Mutiplane animation device. 4”x10”x4” (yellow cedar,plywood), sample plexi-glass planes, cut art history slides.

Used to create animation titled, Entitled. 2012. Original 5:25min. This video screened at the Glenbow Museum, Calgary, Alberta as part of

the Moving Images + Sound Collective Festival in March of 2013.

Below: ‘———-’ . Truck door, chair, wood panel, paper, and video projected precisely on the side mirror for the

viewer to watch while seated)



“Theboundarybetweenvariousartformsishazyforme,”saysSarahNordean.“Ithinkthingscanslidebackandforthbetweendifferentmodesofexpressiontogetanideaacross.”

TheboundariesfortheCalgaryartistincludetheonesbetweenpainting,drawing,sound,videoandsculpture.Sheisfascinatedbyrepeatedgesturesandstrivestocreatetheextraordinaryoutoftheordinary.She’llmapherwalkingjourneysviaGPScoordinates,turntheseintoacontinuumofrelatedshapesthatsashayacrossanexhibitwalltoahypnoticsoundloopshehasalsocreatedfortheoccasion.

Nordeanhaslearnedtomarchtothesoundofherownmusicloop,puttingasideacareerasahighschoolartteacherto

Sarah NordeanBORDER CROSSINGS

Sarah Nordean plays with media

to find the best ways to make the

monumental out of the mundane

and to discover the power of

repeated gestures.

Walking Loops 1, 2013, coloured pencil and acrylic on frosted drafting film

Photo: Minttu Maari Mäntynen


entertheAlbertaCollegeofArt+Designwherehertalentandpaintingpracticewasnurturedbyinstructorsandpeers.Shelovedbouncingideasoffthemandshowingworks-in-progress.

CompletingherBFAatACADin2007,Nordeanbelievesthatthededicatedartschoolisthewaytogo.Itsunwaveringfocusandcompletecommitmentgivestudentsadeeperconnectiontoart,asopposedtointegratingitwithotherstuffyouaredoing.

Yes,sure,youmighthavetodootherworktosupportyourpractice,butthepracticeitselfisthething.Youhavetobeboldandriskit.“Beingcautiousisnotmyideaofagoodtime,”shesays.“Bepassionateaboutwhatyoudo.Doingwhatyouloveisextremelyrewarding.”

Followingherpassion,NordeanenteredtheEmilyCarrUniversityofArt+DesignLowResidencyMastersprogramthreeyearsago,whichallowshertocompleteherMastersdegreeinAppliedArtsinCalgary,whilespendingthreeJulysinarowwithintensiveworkandexhibitsattheuniversityinVancouver.Shehasjustcompletedthelastofhercourseworkthissummer.

“I’mjustfinishingdoinganexhibition,inVancouver,withmycohortsfromEmilyCarr,”shesays.“Iamshowingthisonedrawing,whichIhavebeenworkingonforthepast

year,thatexploresrepetitivegesturesandtheideaofmakingsomethingmundanemonumental.”Thedrawing,formedfromrepeatedtallymarksusingdippenandinkonpaper,isanongoing,cumulativeworkcomprisedofmorethan100smallerdrawings.

TheideaofrepetitionandturningdailyroutineintorevealingartunderliesherThe Islandsexhibit,heldlastyearatCalgary’sUntitledArtSociety,anot-for-profitartist-runcollective.Inexploringthe“relationshipbetweenimagemakingandourconnectiontospaceandplace,”shemappedherwalksthroughcityspacesusingGPScoordinatesandemployedthese“drawingsascompositionalelementsforhervisualworks.”Theacrylic-on-papermapsarelinkedthrough“continualmovement,repetitioninreturningtothesameplacesagainandagain,andrhythmofstepandbreath.”

Nordean’sartpracticeisalsocontinualmotion.Nowdonehermasters,withastrongfocusondrawing,shewantstoexpandherpracticetoincludeperformance,videoandperhapssculpture.

Whateverworksbestforherideas–forgetaboutthetriedandtrue;bordersaremeanttobecrossed.“Ifyougetlostdoingsomething,whynotdothatthingfortherestofyourlife?”sheasks.

Ticks (5,404 minutes), 2014, dip pen and ink on paper

Photo:s Scott Massey



Brittney Bear HatUNITED IN EXPERIENCE

Brittney Bear Hat’s work has evolved

from focusing on the stereotypes

that divide us to the experiences

we have in common.

ForBrittneyBearHatartisatooltoexploretheelusivenotionofidentity.“IgrewuphereintheCalgaryareabutfeltseparatedfrommyaboriginalcommunity,”sherecalls.“ForalotofmylifeIfeltIwasmakingitupasIwentalong.IfeltIwasastereotype.Ididn’tunderstandwhatmademenative.Whatwasmycultureandidentity?”

Growingupwithacreativestreak,shefollowedtheleadofhereldersisterRichelleandenteredtheAlbertaCollegeofArt+Design,in2007.“Ifitweren’tforACAD,Iwouldn’tbewhereIamnow,”shesays.“Itdefinitelyhelpedmebuildapracticeformyself.”

BearHatbuiltonthisfoundationinaseriesofresidencies–includingonesatContemporaryGalleryandTheBanff

Centre–whereshestarteddeepexplorationsofherroots,exchangingideasandinspirationwithotheraboriginalartists,includinghersister.

“Most of my time is spent googling different names, titles, phrases – all linked to being ‘Native.’ I was intrigued by the stereotype I found in the images.”—FromthedescriptionoftheThis is...series,2011.

InherThis is...seriesBearHatwilloftentakethevisualclichésandreframethemsothattheviewerquestionstheirownculturalassumptionswhiletheartistatthesametimeexorcisesherowndemonsofidentity,intheaccompanyinghandwrittennotes.Forexample,aparticularpiecedepictsaseriesofimpassivenativewarriors.Shewrites,“Thisiswhatitmeanstobestoic.”Andthesubtextis,stoiciswhatsheisalsoexpectedtobe.

OnceBearHatgotthestereotypesoutofhersystem,shefeltmoreateasetoexplorewhatheridentityreallymeantthroughherfather,ArthurChipesiaandhermother,LibertyChipesiawhodiedApril,2000.

Photo: Brittney Bear HatPhoto: courtesy of Art Gallery of Calgary (now Contemporary Calgary), 2014


“My Mother would sometimes blast Biggie from the kitchen to wake us for breakfast.”—NotefromtheRememberseries,2013

IfBearHat’smotherservesasamuseformuchofherwork,herfatherprovideslivinginspirationandasourceoffull-heartedsupportforhisdaughter’sexplorations,whichlatelyhaveincludedaddingvideoandmarkingareturntosilkscreenprints.Heisalsotheguardianoffamilystories,fleshingthemoutforherandlettingherknowtheonesthataresacredandmustbekeptsecret.

“It’sveryimportantformetoholdontoallmychildhoodmemories,”shesays.“Ijustwanttoremembermymomandmydad.”

Asherartpracticehasevolved,BearHathascometobelievethatthereismorethatlinksherwithnon-aboriginalsthanseparatesher.TheideaofconnectionunderliestheOURSshowshehadthisyearwithJenniferTellieratEdmonton’sLatitude53gallery.

Drawingonapreviouscollaboration,theinstallationwascomposedofpersonalartefactsandelementsoffamilyhistory.“JenissomeonethatIwasabletoshareandconnectwith.Webothcomefromasimilarbackground.Weshareasimilarchildhood,”saysBearHat.“Webothgrewupwithfatherswhowerehuntersandtheyarecontinuallypassingonthatknowledgetous”

Intheshowitself,therewerenoindicationsastowhichartistproducedwhichwork.Viewerscouldseethattherealexperienceswehaveincommontrumptheartificialdivisionsweoftencreate.

Photo: Brittney Bear Hat, 2014 Photo: Brittney Bear Hat, 2014

Photo: Brittney Bear Hat, 2012



Carson LongInhiscreativecareerthusfar,CarsonLonghaslearnedacoupleofvaluablelessons:Thatonethingleadstoanotherifyouareopentothepossibilities,andthatthereisasweetspotofopportunitywherecreativityandlogicoverlap.

LonginitiallyenteredtheAlbertaCollegeofArt+Design,in2007,tostudydesign.Butinhisarthistoryclasshefoundhimselfattractedtothegranderdesignsofarchitecture.SohedidhisfirstzagthefollowingyearandenteredtheSouthernAlbertaInstituteofTechnologytoearnhistwo-yeararchitecturaltechnologiesdiploma.

ThisiswhereLongzigged.Heneededtocompletehisfour-yearundergraduatedegreebeforeenteringthemastersarchitectureprogramattheUniversityofCalgary.ItwouldhavemadealotofsenseforhimtogotoUofCforhisundergradbutinsteadheoptedtoreturntowherehebegan,takingthedrawingprogramatACAD.

Withhiseyealwaysonhislonggame,hebelievedthatanarteducationwouldhelphimdevelopauniquewayofproblemsolvingthatwouldgivehimanadvantagewhenfacedwiththemassivechallengesofarchitecture.

“IfeltthatACADwouldhelpmetodevelopmyownprocess,”explains25-year-oldLong.“Architectureisallaboutprocess,sothisisimportant.Artschool

PLAYING HIS LONG GAME

Pursuing his art

practice and a master’s

degree in architecture,

Carson Long is open

to where experience

leads him.


teacheshowtofindcreativesolutionstoproblems.Otherkindsofschoolsjustdon’tteachyouhowtodothis.”

Healsocreditshisinstructors,includingTanyaRusnakandRichardBrown,forhelpinghimtofindhisfocusandcoaxouthistalent.“Ifyouhaveagoalinmind,theprofessorshaveagreatwayofhelpingyoutoreachit.Whiletheyaretheretocoachyou,theydon’tthinkforyou.It’suptoyoutofigureoutthesolutionstoproblems.Theyreallyhelptodevelopapassionforfindingnewwaystosolvechallenges.”

Longappreciatedthewaythedrawingprogrambuiltonasolidtechnicalfoundation–backedbytheory,criticaldiscourseandconstantencouragementtoreachbeyondthetraditionalboundariesofdrawing–tohoneapersonalpracticeandanimpressivebodyofwork.“Ifoundmyselfreallybenefittingfromthefocusonthelogicalandthecreativeandartisticatthesametime,”hesays.“Ifindthetworeallysupporteachother.There’sanarttomath,andyouneedlogictosolvecreativeproblems.Usingthetwo,youlearntostepoutsideyourbox.”

HavinggraduatedwithhisBFAin2014,LongisdeterminedtokeephisartpracticegoingasheentersUofCforthe

architectureprogram.Thisincludeshisgraphicdesignsandhismoodyblack-and-whitephotographyandart.Hisworkdisplaysaloveofgeometricforms,urbanlandscapesandmanmadestructuresthatshowheisontherighttrackforacareerinarchitecture.

Evenso,Longisalwayspreparedfornewzigzagsinhiscareerpath.“Idon’twanttolimitmyselfyet,”heexplains.“I’mgoingtojustdomythreeyearsandseewhereIstand.ThereareafewavenuesIcouldgodown.Yes,Icouldpursuearchitecture.Icouldreturntographicdesign.There’salsomyartpractice.Ijustwanttoseewhereexperienceleadsme.”

Left to right: Expanse, 2014, acrylic ink on wood canvas; Sprawl, 2013, acrylic ink on

wood canvas; Construct, 2012, acrylic ink on wood canvas with pouring medium



DRAWN TO NEW YORK

With fearless attitudes and strong technical skills learned at ACAD, Jillian

and Lauren Tamaki have made a big splash in the Big Apple.

Jillian and Lauren Tamaki

ThesistersTamakiareadoublethreat.FromtheirrespectiveapartmentsinBrooklyn,thetwographicartistsraisedinCalgaryhavemanagedtoconquertheBigApplewiththeirdistinctiveart.Jillianisafreelanceillustratorwhoalsocreatesbestsellinggraphicnovels.AndyoungersisterLaurenissimilarlyaccomplished,combiningabusyfreelanceillustrationpracticewithfull-timedesigngigsthatlethermultipletalentsshine.

Ifthetwofeelarivalry,itdoesn’tshow.

“Laurenisreallyattunedtoculture,fashionandtrend,bothcontemporary

andhistorical,”saysJillian,34.“Sheunderstandscontextverydeeplyandalsohasagoodsenseofhumourandlightspirit.

Lauren,31,saysofhersister:“She’sillustrationroyalty.She’ssetapartbythefactshehastechnicalskillandstorytellingability.”

CertainlythelasttwoqualitiesarewhatJillianhasbecomeknownfor.AfterdoingafoundationyearinfineartatQueensUniversityinOntario,shereturnedhometotakeaVisualCommunicationsDesigndegreeatAlbertaCollegeofArt+Design.

Whileherintentwastostudydesign,thecurriculum’ssecondfocus,onillustration,seducedher“immediately.”“WhenIenteredACAD,Idon’tthinkIknewillustrationwasevenathing,”sherecalls.

“Iwasgladtheprogramwassofocusedondrawingfundamentalsandemphasizedbothdesignandillustration,”sheadds.“Itmademeamuchstrongerdrawer.Igraduatedfeelingreallyprepared.”

Jillian’ssolidgroundinghelpedhertakeoffalmostimmediately.Aftergraduatingin2003,shestarted

Jillian Tamaki

This Summer Sampler from This One Summer, 2014


freelancinginCalgaryandthenlandedatanEdmontonvideo-gamecompany,whilecontinuingtofreelance.WithenoughclientsshewentfreelancefulltimeandmovedtoNewYorkin2005.

Sincethen,herclientshaveincludedthelikesof theNew York Times,New Yorker, National Geographic, PenguinBooks,Oprah Magazine andWIRED. Atthesametimeshepursuedaloveofcomicsandwithcousin,MarikoTamaki,createdthegraphicnovelSkim,in2008,whichwasnominatedfortheGovernorGeneral’sLiteraryAward.Thisyear,thepairpublishedThis One Summer, awhimsicalcoming-of-agestory.Thenovelhadatwo-weekrunontheNYT bestsellerlist.

Inspiredbyhersister’sexample,LaurenfollowedafashiondesigndegreeatRyersonUniversityinTorontobyenteringACAD’sVisual

CommunicationsDesignprogram.Thetwinfocusofhercourseshelpedhertorealizeshecouldhaveadualdesignandillustrationcareer.“Thetrainingjustmakesmeamorevaluableemployee,”sheexplains.“Themorearrowsyouhaveinyourquiver,themoremarketableyouareinacompetitivemarket.”

Whileinschool,LaurendidfreelancedesignandillustrationforclientssuchasMurale,Goodmagazine,SwervemagazineandTheatreJunctionGRAND.Aftergraduatingin2011,shevisitedJillianinNewYorkandlandedajobatBumbleandbumble,wheresheimmediatelymadeasplashinthegraphicartscommunitywiththewallpapershedesignedandillustratedattheuptownsalon,aswellasholidaycardsandtheillustrationsshecreatedforB&b’sfirstrewardsgamingapp.

ShecontinuedtodofreelanceillustrationsforclientssuchasGQ, Wall Street Journal andColeHaanandin2013,shemadetheleaptoNewYork’sArch&Loopdesignfirm,whereshereunitedwiththebeautyandfashionclientssheloves.SheisnowdoingalotmoredesigningfortheWeb,forcinghertolearnnewskillsonthefly.

Sheisnotfazedbecauseofthe“fearlessattitude”thatsheandhersisterlearnedatACAD.Theharddeadlines,highprofessionalstandardsand,especially,thedemandingbutsupportiveinstructors,madethemrealizetheycoulddojustaboutanythingtheysettheirmindsto.

“Theyhelpedustogetreadyfortherealworld,”saysLauren.“Youcan’tputapricetagonthat.”

Lauren Tamaki

Left: Wall Street Journal, January 2014

Bottom left: Toronto Life, July 2014

Bottom right: Cole Haan, Holiday 2013


TRUCH BE TOLD

The four Truch siblings have used

their ACAD education to become

competitive in the international

design market and to launch a

landmark Calgary restaurant.

KimTruch(nowBiggs)startedatrendinhercreativeCalgaryfamilywhensheenteredtheAlbertaCollegeofArttostudydesign,in1980.ShewasfollowedbysiblingsAlli,ChristopherandJon.

“FouroutoffiveuswenttoACAD,”shesaysandaddswithalaugh,“Ourotherbrother,Mike,isanatureboy.Flyfishing,birdingandanythingnaturerelatedishisobsession.”

TodayAlliandKimrunBiggs&Co,amultidisciplinarycreativeagencywithofficesinNewYorkandLosAngeles.ThepairhasworkedwithmusicaltalentrangingfromAerosmithtoRihanna,andformajorbrandslikeZero,HaliburtonandSoap&Glory.Afterservingasasenior

artdirectoratMTVinNewYork,ChristophernowrunsafreelancedesignpracticeinGuelph,Ont.,livingwithhiswifeandson.

Withapassionformusic,designandartdirection,thethreehavecollaboratedonprojectstogetherandlikeanygoodbrothersandsistershavestronginsightintooneanother’stalentsandpersonalities.“ChristopherhasadifferentstylethanKimandme,”saysAlli,forexample.“It’smorethoughtdriven.He’smoreofatraditionalist,whereourworkismorepopculturedriven.”

TheirotherACADbrother,Jon,blazedhisownpath,takingsculptureinschool.Almostadecadeago,heopenedTubbyDog,whichhasbecomeaCalgarylandmark,withitseclecticmixofpinballmachines,livemusicandfabuloushotdogcreations,liketheSumoDog,garnishedwithJapanesemayo,wasabi,pickledgingerandtoastedsesameseeds.

“It’smoreofaholisticexperiencethanarestaurant,”musesChristopher.“Ithinkhetookhiseducationandputallofitinhisbusiness.There’sthesecrazy,over-the-tophotdogs.TheyarekindofsculpturesnowthatIthinkaboutit.”

The Truch Family


Alli Truch + Kim Biggs Photo: Ken Schles

Christopher Truch

Jon Truch


ThethreedesignwhizzesofthefamilyTruch(pronouncedtroochnottruck)migratedsouthseparately.Determinedtobecomepartofthemusicindustry,KimmovedtoL.A.aftergraduation.HergigsincludedseniorArtisticDirectoratWarnerBrothersRecords,associateCreativeDirectoratRCARecords,headofcreativeservicesatMaverickRecordsandownerandcreativepartneratPopglory.

InNewYork,AllifollowedayearofadditionaleducationattheSchoolofVisualArtswithstintsthatincluded,amongotherthings,asadesigneratPolyGramRecords,VPcreativeservicesatElektraEntertainmentandseniorVPcreativeservicesatIslandDefJam.In2006,sheandhersisterlaunchedBiggs&Co.,graduallyrefocusingtheirmusicbusinesstoageneralbrandingpractice.

Forhispart,ChristopherwasamusicprofessionalbeforegoingtoACADandthenservingfirstasthemarketingand

editorialdirectorofPaper Magazine,inNewYork,andgoingonayearlatertoMTV,wherehewasresponsibleforawiderangeofoff-airbranding,marketingandadvertisingprojects.

AllthreeareadamantthattheirACADeducation,andtheworkethicinstilled,madethemsuccessfulinthecontinent’smostcompetitivecreativemarkets.“I’dsaythatafterexperiencingwhatissupposedtobeoneoftheworld’sbestdesignschools,SVA,theleveloftrainingIreceivedatACADwasonpar,”saysAlli,whohastaughtatSVAthelastsevenyears.

“MytimeatACADchangedmylife.ItwaslikePlato’sCave,”addsChristopher.“TheblinderscameoffandIsawtheworldfromadifferentpointofview.Itpreparedmetocompeteonaworld-classlevel.”

Top left: Blue Nectar Tequila, Biggs + Co. Right: Reebok, Biggs + Co. Bottom left: Tubby Dog. Centre: Book jacket design / The Autobiography of Mark Twain / Harper Collins Publishers New York, C.Truch. Right: Book jacket design / Soren Kierkegaard - Works of Love / Harper Collins Publishers New York, C.Truch.


Debra Bishop

TAKING MANHATTAN

Learning to work hard

and smart at school in

Canada, art director

Debra Bishop has

flourished in the Big

Apple, working for

a range of big-name

magazines.

“Workethic”—thisistheedgethatDebraBishophadoverotherdesignstudentswhenshewenttoseekherfortuneinNewYork,in1984.

FromherofficeinNewYorkCity,thecreativedirectorofMoremagazineexplainsthatherfour-yeardegreefromwhatwasthenknownasthe

AlbertaCollegeofArtprovedthatshecouldmakeitanywhere,includingtheBigApple.

OneofherfavouriteACAinstructors,RickZak,encouragedhertoseekoutopportunitiesinNewYork.Travellingtherewithfellowstudents,illustratorsDougFraserandGarnetHenderson(nowherhusband),BishopdecidedtofurtherhercommunicationdesigneducationattheSchoolofVisualArts.

“AtAlbertaCollegeofArtwelearnedhowtoworkreallyhard,”sherecalls.“ItwasaveryrigorousprogramthatprepareduswelltoshineamongalltheotherstudentsatSVAwhodidn’thavethesamekindofworkethic.AlsothebroadereducationIhadreceived—coveringillustrationandadvertisingaswell—oftenhelpedme

withmynew,morespecializedfieldofgraphicdesign,asIhadamuchbiggerrepertoiretodrawmyideasfrom.”

Bishopquicklyprovedherself.OneofherSVAinstructorswasPaulaScher,theacclaimedgraphicdesignerandpainterwhoseaward-winningworkincludesbrandidentitiesfortheMuseumofModernArtandNewYorkBallet.TheCanadianwasoneofthreestudentshiredfromtheclasstoworkinScher’sstudio.

OnceontheManhattanrollercoaster,shefoundthatonerideleadstoanother.Afterfouryears,BishopwashiredforafreelanceprojectbyRolling Stone magazine,workingwithartdirectorFredWoodwardtodesignabook,Rolling Stone: The Photographs(1993).Impressed,Woodwardhired



Bishopfulltimeasseniorartdirectorforthebibleofthemusicindustry.

Then,afterastintasdeputyartdirectoratHouse&Garden,shejoinedMarthaStewart’sOmnimedia,in1997,astheartdirectorfortheMarthabyMailcatalogueandwaspromotedtodesigndirectorofMarthaStewartBaby,VP/designdirectorofKIDS:FunStufftoDoTogetherand,later,BlueprintMagazine.

Besideswinning“MagazineoftheYear”fromtheSocietyofPublicationDesigners(SPD)andtheAmericanSocietyofMagazineEditors(ASME)forKIDSandBlueprintmagazines,BishophaspickedupawardsfromtheArtDirectorsClub,theTypeDirectorsClub,AIGAandAmericanPhotography.Hergrowingreputationandgroaningawardsshelfhelpedherlandhercurrentgig,in2008,ascreativedirectorofMore,amagazine

aimedataffluent“womenofstyleandsubstance.”

Bishopadvisesstudentstofindtheirownsubstanceandstyle,andnottobediscouragedfromgettingintoprintdesign,eveninthisInternetage.“Therewillalwaysbesomekindofforumforpublicationdesign,”shesays,“whetherit’sadigitalmagazineorannualreportsorsomethingelse.”

Theimportantthingistogetthedesignfundamentalsdown,sheinsists,learninghowtoputtypographyandimagestogether.Attheendoftheday,“gooddesignisgooddesign.”

AsBishoppreparestoreturntoworkandaredesignofhermagazine,aswellasfinishingajobconsultingforParents magazineandtakingonaprojectforthe50thanniversaryoftheSPD,it’shardtodisputeherlogic.

Images courtesy of Debra Bishop



Jennifer VallisTOUGH LOVE

Challenged by her instructors to “figure it out” herself, Jennifer

Vallis has been able to pursue her passion for interactive and

performance art, and launch her own studio.

Ponderingthereasonsforhersuccessasanewmediadesigner,interdisciplinaryvisualandperformanceartist,andbusinessowner,JenniferValliscitesthe“toughlove”ofherinstructorsattheAlbertaCollegeofArt+Design.“Iftherewassomethingyoudidn’tknowhowtodo,they’dsay,‘Gofigureitout,’”recallsthe20-year-old.“Itwouldbefrustrating.I’dbe,I’vepaidalotoftuitionandnowI’mbeingtoldtofigureitoutmyself?”

ButVallissoonrealizedthe“hugerewards”ofguidedself-discovery:“Intherealworld,there’snotalwayssomebodyyoucancalltoaskhowtosolveaproblem.Learningtodothisyourselfisareallyimportantskillset.”

IntheMediaArtsandDigitalTechnologiesprogramshealsolearnedtoweavetogetherthedifferentstrandsofherinterests,oftenexploringthecomplexrelationshipsbetweentechnologyandperformers.Sheusedtechnologiessuchasmotiontracking,wearableelectronicsandtangibledigitalinterfacestoenhancetheperformancesofdancersandmusicians.

SheprovidesalotofthecredittotheartistandentrepreneurshehasbecometodaytoformerInteractionDesigninstructorandheadofMADTAdamTindale.“Jennieisfearless,generousandverysocial,”says


Tindale.“Whatimpressedmemostwasherdedicationtocraftandherabilitytomovetheworkforwardandacquireskills.Shewouldapproachmewithanideaandidentifyafewthingsshecouldnotdo.Iwouldmakesuggestionsandgivehersomebasics,andthenexttimeIsawhershewouldhavefoundacommunitywhereshecouldcultivatethatskillandfindnewcollaborators.”

In2011,VallisgraduatedwithaBFAandwasrecognizedasanACADBoardofGovernorsRecipientforheroutstandingachievementsinclassandout.Shestrodeintoherprofessionallifeconfidently,armedwiththetoughlovelearningandstrongconceptualskillscultivatedatACAD.

HerworkincludedbecomingaproductioncoordinatorfortheQuickdrawAnimationSocietyandartisticproducerforLaCaravanDanceTheatre.Shealsosawtheall-femaleurbanartscollectiveshefoundedinACAD,BigKitty,growinto“thelargestgroupofitskind,”withmembersacrossthecountrycollaboratingonmurals,exhibitions,liveperformances,workshopsandcommunityprojects.Thecollectiveisduetobringoutalineofclothingin2014.

Assheworkedforothers,Vallisrealizedinaflashofinspirationthatshecouldbeherownboss.In2012shefoundedStudioCartel,inCalgary,aproductionstudioandartcollectivewithfiveresidentartistsandavisitingartistprogram.Thestudiodesignsandbuildslarge-scaleartinstallations,interactiveworksandstagedesigns,whileofferingindependentcreativeservicessuchasphotographyandmetalwork.

“IwouldhaveneverbeenabletobuildacompanyandhaveacareerasIdonowwithoutACAD,”saysVallis.“Thelastcoupleofyearshavebeenamazingandcrazy.Iloveeverythingfrommakingmusictocreatingprojectionstobuildingthings.AndIamopenandreadyforwhateverhappensnext.”

Top: Digital Cave, Studio Cartel. Interactive Sculptural Installation;

PASSAGE Art Space, 2014. Photo Credit: Katy Whitt

Right: Paper Planes; Interactive Dance Performance/Installation.

Dancer: Megan Gole. Glenbow Museum, 2012.



CRITICAL SUCCESS

Through digital

agency Critical Mass,

the Delichte brothers

have helped nurture

generations of creative

talent and incubate

new businesses in

Calgary.

DarrenandJasonDelichteareproofthathowyoulearnismoreimportantthanwhat.Theyalsodemonstratethatifyoustaytruetoyourrootsandleadchangeinsteadoffollowit,thatsuccesscanbegetsuccess.

ThebrothersleftWinnipegtoenterthecommunicationdesignprogramattheAlbertaCollegeofArt+Designinthe1990s,justastraditionalgraphicdesignwasbeingrevolutionizedbycomputers.Butratherthanfocusonprint,theDelichtesbecameentrancedbythepossibilitiesofworkinginthedigitalspace.Theydidalotofself-directedstudyinthisarea,especiallyunderthewatchofinstructorMichaelClairo.

“ACADhasahugereputationforthedevelopmentofitscreativeprocess,”saysDarren,whoservedmorethanthreeyearsonACAD’sBoardofGovernors.“ThedifferencebetweenACADandotherinstitutionsisthatitingrainsdeep,insightfulthinking,notsurface-levelthinking.”

WhenClairolaunchedanewcreativeagencywithentrepreneurTedHellard,in1996,calledCriticalMass,hebroughtthreeACADstudentswithhim,includingtheDelichtes.

Thebrothers’multimediaexperimentationsfitperfectlywithCriticalMass’snewmediafocus—atfirstcreatingCD-ROMs.Theagencypitchedforthebusinessof

The Delichte BrothersLeft: Darren Delichte Right: Jason Delichte


Mercedes-Benz,asitsfirstmajorclient.Mercedessaid,That’snicebutwhatwereallyneedhelpdevelopingisourwebsite.CriticalMassgulped,replied,Wecandothat,too,andthenscurriedofftoteachitselfhow.

ThegroundbreakingsiteitcreatedledtoCriticalMassbecomingtheMercedes-Benzinteractiveagencyofrecord,andestablisheditsbonafidesjustasdigitaldesignwassettoexplode.Underthecreativedirectionofthetwobrothers,CriticalMassrodethiswaveandamassedashelfofawardsandanimpressiveclientlist,includingNissan,Rolex,Nike,Adidas,NASA,DisneyandAT&T.

In1999,theOmnicomGroup,theworld’slargestcommunicationsnetworkboughtastakeintheagency,enablingCriticalMasstogrowexponentially.Todayithastenglobalofficesandmorethan800employees.

Overtheyearstheagencyhasservedasanincubatorforbothlocaltalentandbusiness.IthashiredmanyACADgraduates,becausetheyhavethetrainingtodelivertheallimportant“insight-drivendesign.”“Itreallyhasbeenagreatrelationship,”saysJason.“ACADcontinuestodevelopexceptionalrawtalentandCriticalMassprovidesanamazingenvironmentforthemtocontinuetogrowandworkoncreativeprojectsforworld-classbrands.”

Headds:“Wearealsoproudoftheimpactwe’vehadonthelocalindustry.We’vebeenahubofcreativityandtechnology,wheremanytalentedpeoplehave

cuttheirteethandgoneontostartupsuccessfulcreative,designandtechnologybusinesses.”

Thebrothers’provenabilitytoadaptandinnovatecontinuestoservethemwell.JasonasVP,ExecutiveCreativeDirectorcontinuestohelpleadtheagency’screativeteamasitevolvesitsdigitalexperienceanddesignexpertisearoundtheworld.Lastyear,DarrenlefthisroleatCriticalMasstoexploreotheropportunities.HewoundupbecomingexecutivecreativedirectoratacompanylaunchedbyTedHellard,calledAppColony,servicingtheexplodingmobilephone/tabletsector.

Nissan Global What If Experience, Critical Mass

One Tap - Distracted Driving App, 2014, AppColony


Reaping the rewards Our Award Recipients

Tammy McGrath

Visitors entered a scene of literary hell. Assaulted first by the earthy smell of charred paper, they saw three bloated, bat-like creatures with sharp claws hovering over a desolate landscape of more than 1,400 burnt books.

PresentedatCalgary’sTruckGalleryin2009,Voir DireisartistTammyMcGrath’smeditationonthedeathofknowledgeandtruth.Sheexplainsthattheexhibition’stitleisoldFrenchlooselytranslatedas“tospeakthetruth.”

Speakingthetruth–andinvestigatinghowitisconstructedandretained,ornot–issomethingthatthe42-year-oldmultimediaartisthasbeentryingtodoforalongtime.Shestartedbystudyingphilosophy,butherjobinaCalgarycafégotherinvolvedinthelocalartcommunity.

Followingtheleadofotherartistsshemetatthecafé,McGrathstartedtakingclassesattheAlbertaCollegeofArt

+Design,in1995.Hereshewasencouragedbyinstructorstotacklephilosophicalquestionsofinteresttoherfromavisualperspective,insteadofjustthroughthewrittenword.

“IfeltveryluckybecausetheteachersIhadwereveryengagedincriticaldiscourseandwillingtoencouragestudentstotackledifficultsubjects,”sherecalls.“Theyencouragedustotakechances.”

AftergraduatingwithherBFAinpainting,in1998,McGrathworkedasanartistandprogrammeratTheNewGallery,anartist-runcentrewheresheco-foundedMountainStandardTimePerformativeArtFestival.Fiveyearslater,shewentontogetherMFAinIntermediafromtheUniversityofRegina.

Sincethen,hercareerhasfollowedatripletrack.Shehasavibrantartpractice,teachesthroughextendedstudies

SPEAK THE TRUTH

As a multimedia artist, Tammy McGrath is constant in her determination

to study the shifting terrain of knowledge.


atACADandhasacuratorial/administrativecareeraswell.UntilrecentlyshehandledthevisualandmediaartsprogrammingattheEPCORCentreforthePerformingArts,andwascuratorandco-creatorofSoundasaurus:MultimediaSoundArtFestival,bothinCalgary.

Inherquestforthetruth,McGrathsometimesfindsthatgovernmentsare“shortsighted”intheirdecisionstocutfundingfromtheartsanduniversities.Theyforgethowimportantitistohaveavibrantartscommunitytoattracttouristsandtouristdollars.“Studiesshowthatartpromotescriticalthinking,”shesays.“Peoplewhogothroughtheseprogramsbecomevaluabletosociety,notjustintheartsbutinotherareasaswell.It’sallaboutexperimentation,askingquestionsandpushingtheboundaries.”

McGrathcontinuestopushherownboundaries.Sherecentlyreceivedthe2014ACADAlumniLegacyAwardforhergrowingbodyofworkandhercontributionsto

theartisticcommunity,despitethefactthatherworkisgoingthewayofthedodo–literally.Thissummershewasscheduledtofinishresearchandworkonaninstallationontheflightlessbirdthatwentextinctinthe17thcentury.

“I’mmakingcorrelationsbetweentheextinctionofdodobirdsandhowweaccessandrecreateknowledge,”McGrathexplains.“Thestoryofthedodoissomewhatfracturedbecauseithappenedsolongago.We’vegotconflictingstoriesaboutitsappearanceandhistory.Thebonescanonlytelluswhatthefoundationofthebirdlookedlike,therestisbasedonspeculation,wordofmouthandillustrationsthatmayormaynotbeaccurate.SothatknowledgebaseandhowitchangesispartoftheresearchI’mdoingforthisproject.”

Despitetheshiftingnatureofknowledge,McGrathremainsconstantinherdeterminationtoexploreitwithallthecreativityatherdisposal.

Top left: Adagio in G Minor: A Lullaby (component of a larger installation); Top centre: Adagio in G Minor: A Lullaby (detail);

Right: Dodo bird (pastel and ink drawing); Bottom left: still image from video piece THREE


Bev Tosh

NO VOYAGE HOME

By telling the poignant tales of

war brides sailing into the unknown,

celebrated painter Bev Tosh has

gained insight into her own

family’s story.

In1946,withtherumblesandroarsofWorldWarIIfinallyquieted,DorothyAutridgestoodonthedeckofa“brideship,”aconvertedtroopship,toembarkonagreatadventure,tojointheNewZealandpilotshehadmetatadanceandmarriedshortlyafterinSaskatoon.Elevenyearslater,Dorothywasonathedeckofashipagain,thistimewithseven-andnine-year-olddaughters,thistimereturningtoherhomeinSaskatoon.

“Althoughthetripwassupposedtobeaholiday,andweweresupposedtoreturntoNewZealand,Iknewmylifewouldneverbethesameagain,”recallselderdaughterandartistBevTosh.

Likehermother,thewarbride,Toshknewshewasonaone-waypassagetotheunknown.Thetwovoyagesbracketamysteryofmemory,identityanddislocationthathasfiredherimaginationandsinceguidedherprofessionalchoicesinanefforttounderstand.

Tograspthereasonsforthevoyagesthroughlightanddark,shewenttotheUniversityofSaskatchewantostudypsychology.Butshewoundupgettingadualdegreeinpsychologyandfineart,findingthatshepenetratedthemysterymoreeffectivelywithvisuallanguage.Shehonedthislanguagefurtheranddevelopedherfigurativestyle,withafour-yearshonoursdiplomainpaintingattheAlbertaCollegeofArt+Design,andthenwithanMFAinpaintingfromtheUniversityofCalgary.

Toshsetupasuccessfulartpractice,andkeptherselfenergizedbyteachingandmentoringemergingartistsandlecturingatseveralCanadiancollegesanduniversities,including14yearsatACAD.Still,questionsabouthermother’swarbrideexperience,andpainfulmemoriesoftheirbrokenfamily’sforceddeparture,lingered.



Tohelpher“negotiatementallyandphysicallythrough[hermother’s]passagethroughlife,”Toshpaintedaneight-by-six-footportraitofDorothyasawarbride,in2001.ThestunningpaintingthathassincehungintheNationalWarMuseuminOttawa,setToshonavoyagetounderstandthewarbrideexperienceinitslargercontext,tolearnandtellstoriesthathithertohadgoneunheard,beforetheagedsubjectsthemselvesweresilencedbythemarchoftime.

WhileToshwasgivingaworkshopinNewZealand,alocalnewspaperranacopyofhermother’sportraitonitsfrontpage.Thisinspiredanumberoflocalwarbridestocontactherwiththeirstories.Infactnewsofherartunleashedaninternationaloutpouringofwomenwhowantedtohavetheirstoriestold,fromacrossCanada,theUnitedStates,Britain,HollandandAustralia.

Feelingcompelledtotellthewarbridestories–andthroughthem,hermother’sandherown–Toshhasexpandedhertechnicalrepertoire,sothathergrowingOne-Way Passagewarbrideseriesincludesportraitsonwooden,TearBottles(smallbottlescontainingtinyportraitsandseawater),abridalveilofvintagehandkerchiefs,eachembroideredwith

thenameofabrideship,andevensculpture.Tug of War(Tender Steel)(2011),forexampleisa10-foot-longsculpturethatusesonecontinuouslengthofwiretoweavetogether15warbridesandacoupleofinfantsonashipboundtoAustraliain1946.

Toshhasalsopublishedabook,War Brides: One-Way Passage (2008).Shehasalsowonanumberofawards,includingtheQueenElizabethIIDiamondJubileeMedal,AlbertaCentennialMedal,theEnbridgeAlumniProfessionalDevelopmentAwardandACAD’sDistinguishedAlumniLegacyAward.

QuiteclearlyTosh’sownworkdemonstratesthatartisn’timportantbecauseitisvaluablebutbecauseitisinvaluable.Shehascapturedcompellingstoriesfromadramaticperiodofhistory,andtoldthemwithavisualvocabularythatcelebratestheminawaythey’llneverbeforgotten–aculturallegacy.

Whilethenine-year-oldstandingonthedeckoftheshipintheNewZealandharbourmayneverknowwhysheisleavinghome,Tosh’srichvoyageofself-discoveryhasgivenhersafepassage.



Jeff de Boer“Ialwaysimaginedwhatwouldhappenifwecouldturnoffart,justshutoffcreativity,”saysCalgaryartistJeffdeBoer.“Therealityis,thewholeworldwoulddescendintodarkness.

“Artissointegratedintoourlives,governmentandpeopledon’tunderstandwhatwouldhappenifitdisappeared.Theirclothingwouldn’tlookgood.Theirfoodwouldn’ttastegood.Therewouldbenocolourorlife.”

Anditwouldlacksuitsofdetail-perfectarmourcraftedforcatsandmice,chain-mailnecktiesforbusinessmen,sword-handledbriefcases,rocketlamps,highartexoformsandpublicartinstallationsthatgettongueswagging.

DeBoercomesbythemetal-infusedbloodhonestly.Inspiredbyhisfather,

aprofessionaltinsmith,hebegantoexplorethe“endlesspossibilities”ofmetal,buildinghisfirstsuitofarmourinhisfamily’sgarageduringhighschool.In1984heenrolledattheAlbertaCollegeofArt+Designforjewellerydesign.

Herehelearnedtobecomeanartistwithoutborders,asathomedesigningjewelleryascreatinglargesculptures.“Manypeoplethinkacraftdepartmentisaboutjustlearninghandskills,”hesays.“Theysayit’snotcreative,butitreallyis.IgraduatedfromACADmakingsculptures,andtheywerefinewiththat.Thejewellerydepartmentwasfundamentallyopen,withanopendefinitionofwhatcanbeconsideredart.”

Armedwiththiscreativecarteblanche,deBoercreatedthefirstsuitsof

A LEAGUE OF HIS OWN

Jeff de Boer has gone

from jewellery design

to creating suits of

armour for mice and

cats, to advocating

that artists be the

CEOs of their creative

enterprises.


armourforcatsandmiceinschoolin1986,combininghisnewskillsinjewelleryconstructionwithhiswell-forgedknowledgeofarmourmaking.AftergraduatingfromACADin1988,hecontinuedontomakemousearmourforcommission,spendingupto200hoursonasuit,workingwithmaterialsthatincludesteel,silver,brass,bronze,nickel,copper,leather,fibreandwood.

Fromthere,onetypeofworkledtoanother,includingsteampunkspacegearandlarge-scalepublicinstallations,suchasthegiantwind-uptintoysintheregionalterminaloftheCalgaryInternationalAirport.WhiledealingwithcorporateclientsdeBoerwasinspiredtoshifthowheviewedhimself,believingthatartistscouldalsobeinnovators,leadersandpresidents.“IstartedtothinkofmyselfasaCEOofmyowncreativity,equaltoaCEOinanycorporationthatcametomeforwork,”heexplains.“Andthatwasthegamechanger.”

HisnewgameleddeBoertoembracethemakermovement,whereartistscollaboratewithengineers,designers,fabricators,accountantsandotherprofessionalsonprojectsthatfeaturecreativeusesofpracticalskillsandpracticalusesofcreativeones.AcoupleofyearsagoheconvenedthefirstmeetingoftheLeagueofExtraordinaryMakers(LEXM),whichnowhasabout100membersworldwide,collaboratingonprojectssuchaswearabletechnologyfashionandacost-effectivelarge-format3Dscanner.Theyhavealsotakentheleadinpushingforaworld-class,30,000squarefootmakerfacilityinCalgary.

Atthesametime,hehastakenhisworld-classartisticskillsbacktohisalmamater,teachingaJewelleryDesignandPresentationclass.Helovestheopportunitytomentoryoungtalent.“BecauseI’maworkingartist,teachingisanopportunitytosharereal-worldskillsthatareconstantlychangingwithstudents.I’malwaystestingoutnewideaswithstudents,

andfindsometimesthattheyhaveasmuchtoteachmeaboutnewideas,”saysthe51-year-old,whoreceivedACAD’s2014AlumniLegacyAwardandtheBoardofGovernorsAlumniAwardofExcellenceforhisprofessionalandartisticachievements.

OneofthelessonsthatdeBoerpassesontoyoungartistsistotrulyvaluetheirwork,especiallyinadayandagewhengovernmentcaresmoreaboutbottomlinesthancreativeexpression.Hepointsoutthatsuchexpressionisimportantbecauseartanddesigncanaddvaluetolocalproductsanddifferentiatethemfromthefloodofcheaplymass-manufacturedonescomingfromoverseas.

“IfinditironicthatpoliticianswouldgetonaplanetogotoParisorItalytoseeart,”hesaysfromhisCalgarystudio,whereheworkswithhiswife,Deborah.“Buttheywon’thaveanyofitintheirbackyard.Well,howdotheythinkParisandItalygotfineart?Theyhadaculturethatinvestedinit.”

Left: "Cyclone", 2006, steel, barbed wire. Photo courtesy of the Glenbow Museum. Right: Dragon Cat, 2012, steel.


A WANDERING TALENT

For interdisciplinary artist Elisabeth

Belliveau the medium doesn’t matter

– it’s the ideas that count.

ElisabethBelliveauisaJillofmanytradesandamasteroflayered,nuancedexpression.

Shehasledawanderinglifematchedbyafar-reachingtalentthat’shardtodescribe.The35-year-oldisaninterdisciplinaryartistwholistsdrawing,stop-motionanimation,writingand“makingthings”asherareasofexpertise.Addtothissculpture,graphicnovelcreation,textileportraitsandtattooartandyoucanseeshe’shardtopindown.

Asachild,Belliveau’sphysicalwanderingbeganwhenherfamilymovedfromAntigonish,NovaScotiatoCalgary.AfterahighschooltriptotheAlbertaCollegeofArt+Design,shewentfrom“notevenknowingyoucouldgetadegreeinart”toenteringthesculptureprogramatthecollege,in1997.

“ThiswasprobablythebesttimeIhadasanartistinmywholecareer,”sherecalls.“Weallkindofjustmovedinandlivedinthecollege.Weweretheredayandnightandslepttherehalfthetime.Itjusttookovermylife.”

AftergraduatingwithaBFAinsculpture,in2006,BelliveaubegantomovetodifferentcitiesandtakeaseriesofresidenciesinplacesthatincludedVenice,NewYorkState,SwedenandNewfoundland.Alongthewayshediscoveredthatanitinerantcan’treallypursueacareerinsculpture,shippingaroundcastconcreteandbronzepieces.Shestartedworkingonasmallerscale,writing,teachingherselftodostop-motionanimation(“buildingwholeworldsinaverysmallspace”)andrampingupherdrawingskills.

Tokeepherfriendsuptodatewithhertravels,Belliveaustartedtomake’zines,meldingherburgeoningdrawingandwritingskills.ThengreattalentmetgreatluckwhenabookpublisherdiscoveredherdrawingsinacoffeeshopandcommissionedBelliveau’sfirstbook.HerDon’t Get Lonely, Don’t Get LostcollectionofshortstoriesanddrawingswaspublishedbyConundrumPressin2010.Andthisyear,

Elisabeth Belliveau


Self portrait drawings, Elisabeth Belliveau


Conundrumisscheduledtoreleaseherfourthbook,One Year in America,agraphicnovelthatdrawsontheartist’sexperiencesinfigureskating,inCanada,UnitedStatesandtripsabroad.

Atthesametime,shehasdonesoloandgroupshowsofhervariousformsofwork,garneringanAlbertaFoundationoftheArtsCreationGrantin2013andanACADAlumniHonourAwardin2014.Ofherwide-rangingartisticfocusBelliveausays,“I’mnotinterestedinstickingtoonemedium.Formeideasaremostimportant.Iwanttofindtherightmediumtoconveytheidea,ratherthanbeinglockedintoacertaintradition.”

SheisabletogiveherinterdisciplinaryfocusfullreignatConcordiaUniversity,inMontreal,whereshereceivedherMFAinstudioartsandnowactsasavisitingassistantprofessorinARTX.Theprogramencouragesstudentsto

“questiontheboundariesoftraditionalartdisciplinesandengagethecreativepotentialoftransdisciplinarypractice.”

“ToteachatConcordia,”shesays,“ItrytorememberwhatwasmostvaluabletomeasIdidmyundergradatACAD.Wehadsuchanimmersive,intensecommunityandteacherswhowerejustsogenerousthatIwanttogiveback.”

Notsurprisingly,Belliveauisn’tcontenttositstill.Atthetimeofinterview,shewaslookingforwardtoasummerfreeofteachingduties,whereshecouldconcentrateonherownwork.Shehadjustputthefinishingtoucheson One Year in America,wasgoingtofinishshootinganewanimationandwaspreparingaexhibitfortheAlbertaFoundationoftheArtsthatwilltraveltheprovinceoverthenexttwoyears.

Andwhat’snextforBelliveau?Well,anything,anywhere.Thepossibilitiesareendless.

Above: “Go So we may see”, 2013, 2.5 minutle loop, silent.

Photos courtesy: Elisabeth Belliveau


Nurturing art, growing creativity Our Generous Partners

Enbridge’scontributiontotheartsislikeaspectrum,acontinuoussequenceofrelatedideas,andEnbridgerepeatedlyhonoursthiscommitmentthroughvariedandmeaningfulinitiatives.Onespecialinitiative,thePresident’sEmergingArtist+DesignerProgram,supportsartistsatbothendsofthecareerspectrumandshowcasesawiderangeofartworktoEnbridgeemployeesandvisitors.

AstheleadingsponsorofthePresident’sEmergingArtist+DesignerProgram,EnbridgeexhibitsartworkbyACADstudents,alumniorworksfromACAD’sIllingworthKerrGalleryintheircommunityreceptionareawhereitisaccessibletoallemployeesandcompanyguests.Anewexhibitisprogrammedapproximatelyeveryfourmonths,providinganopportunitytoshowcaseavarietyofworks.

“AtEnbridgeweunderstandthatlifetakesenergy,andthattheenergyinartengagesusandinspiresus,”saysD’ArcyLevesque,VicePresident,EnterpriseCommunications,EnbridgeInc.“ThatiswhyweareproudtopartnerwithACADtosponsoremergingandestablishedartistsinAlberta,andtobringpoignantworksofarttoouremployees.”

Enbridge’spartnershipwithACADprovidesopportunitiesforemployeestomeetandminglewiththeircoworkersforthought-provokingdiscussions,andgivesthemasenseofprideknowingthattheircompanypromotesandvaluesinnovativethinkingandacreativeculture.TheexhibitsatEnbridgenotonlyacquaintemployeeswithworksofart,theyprovideavaluablelearningtoolforACADfacultyandstudentswhoselectandcuratealltheexhibits.Theycreateabridgebetweenartistsandthecommunityduringon-siteeventssuchaslunchandlearns,receptions,andartisttalks.

Blake Little. John Cross, Nanton,

AB. Colour photograph, 2012

Black Little. Bob Koch, Nanton,

AB. Colour photograph, 2012

Spotlight: Enbridge Inc.Supporting a spectrum of art


$50,000 and overEdmontonCommunityFoundationEnbridgeInc.

$25,000 to $49,999AlbertaFoundationfortheArtsAnonymousDonors

$10,000 to $24,999CalgaryArtsDevelopmentAuthorityCanadaCouncilfortheArtsCorusEntertainmentInc.CriticalMassProductionsInc.EstateofRodJStuartShawCommunicationsInc.TheCalgaryFoundation

$5,000 to $9,999Mr.BillChomikandMs.DianeChomikMs.SheilaO’BrienandMr.KevinPetersonMs.MaryL.RozsadeCoquetMr.JamesStanfordMr.MichaelJ.TimsandMrs.RenaeN.TimsMs.LoriVanRooijenandMr.CourtneyShearerCalgaryExhibitionandStampedeRozsaFoundationUnitedStatesConsulateGeneralXEROXCanada

$2,500 to $4,999Mr.MorrisDancygerandMrs.AnnDancygerMr.DougFletcherMs.SharonMartensMs.RoxanneMcCaigandMr.MarkBartkoMrs.M.CarolRyderACADStudents’AssociationBarlowBrothersLtd.RotaryClubofCalgaryCommunityServiceFundTDInsuranceMelocheMonnex

up to $2,500Mr.AlanBriksMr.DavidL.CaseyDr.DanielDozandMrs.DeniseSmythe-Doz

Mr.WilliamF.DumaandMrs.AnneDumaMs.LoriFaganMr.GregoryJ.ForrestandMs.MargoHelperMs.GwynneHughesMrs.AdrienneC.JenkinsMs.JoanneA.JohnsonMr.MichaelE.LobsingerMrs.AnnMarieMacEachernMs.JaneE.McQuittyMr.RobertL.MelvilleMr.JackMoxnessMrs.DoreenOuchiandMr.ConradOuchiMr.AllenPrattandJoanAldisMr.BretG.ReinboldMr.JimSellersandMs.JudithBaderMs.DianaSherlockMs.MarleneSternMrs.PennyStoneMs.DeborahStuartMr.MichaelStuartMr.ThomasStuartMrs.DianneTaylor-GearingMrs.BarbaraTetzlaffandMr.CarlTetzlaffMs.IreneTraudtMs.DawnValcourtMrs.SusanVeenhovenMs.LauraVickersonMr.BrettWilsonA.U.P.E.Local071/006ACADAlbertaPottersAssociationCalgary/BanffPhotographyFestivalSocietyCalgaryBoardofEducation-EarlGreySchoolCanadaHelpsChinookEnergyInc.ConsulatGeneralofFranceMarshCanadaLtd.Robinson’sCameraCentreLtd.TeamTELUSCaresTheCameraStoreTheCityofCalgaryUnitedWayofCalgaryandAreaVistekLtd.

UndertheEnbridgeleadsponsorshipofthePresident’sEmergingArtist+DesignerprogramwithACAD,Enbridgeproudlypresentstwoscholarships.One,theEnbridgeAlumniProfessionalDevelopmentAwardisawardedannuallytoanACADalumnuswhoisestablishedintheircareer.Thisyear,the$5,000awardwaspresentedtoBeverleyTosh,whograduatedwithDistinctionfromACAD(Painting,1985)andalsotaughtatACADfrom1988-2002.Tosh’sOne-Way Passageisawarbridesseriesbasedonherpersonalhistoryandhasbeenexhibitednationallyandinternationally(readaboutBevToshonpage54).

Asecondscholarshipispresentedtoanaspiringyoungartistwhodreamsofmakingarttheirprofession.TherecipientofthisawardisselectedfromACAD’sShowOff!,ajuriedexhibitionofhighschoolstudents’workfromacrossAlberta,NunavutandtheNorthwestTerritories.Thewinner,chosenbyapanelofACADfacultyandanEnbridgeemployee,willbeassistedintheirartisticdevelopmentthroughthepaymentoftheirfirstyearoftuitionattheCollege.

“ACADisdelightedtopartnerwithEnbridgeonthissignificantsponsorshipasitprovidessupportforarteducationscholarshipsandentrepreneurialexperiencesforartstudents,andcreatesaplatformbywhichextraordinaryyoungtalentisshowcased”,saysKaraTersen,ACAD’sDirectorofPhilanthropy+Communications.“Itisclearthatwiththeirsupport,EnbridgeiscultivatingandpreservingaspectrumofartactivityatACAD,withintheircorporatewalls,throughoutCalgary,andbeyond.”

ACADisproudtocelebrateEnbridgeastheleadsponsorofthePresident’sEmergingArtist+DesignerprogramforthreeyearsfromJanuary1,2014toDecember31,2016.

About Enbridge Inc: Life takes energy. And for more than 65 years, Enbridge Inc. has been fueling our quality of life, delivering the energy our customers need to live their lives to the fullest. To do this, Enbridge operates the world’s longest crude oil and liquid transportation system and we own and operate Canada’s largest natural gas distribution company. We also help to generate more than 1,800 megawatts of renewable and alternative energy. At Enbridge, we are proud of what we do and how we make life better. Because when the energy our customers invest in life meets the energy we fuel it with, amazing things happen. For more information about how Enbridge fuels our quality of life through the transmission, distribution and generation of energy, please visit enbridge.com.

Donations made in the 2013/14 fiscal year.

Thank-you for your generosity!


Nurturing Art, Growing Creativity Our Generous Partners

Spotlight: The Calgary Foundation

TheCalgaryFoundationhasalongandrespectedhistoryinfacilitatinginvestmentinvitalcommunityprogramsbyconnectingdonorswithorganizationswhocontributetotheeconomic,socialandenvironmentalwellbeingofthecity.EvaFriesen,PresidentandCEOofTheCalgaryFoundation,believesthatartisadrivingforceinmaintainingCalgary’slong-termsustainabilityandfinancialgrowth.

“Theartsareoneoftheelementsthatcanmakeagreatcityevengreater”,saysFriesen.“Theartscananddoinspireandencouragecreativityinall

ages,createconversationsaroundsocialissues,anddriveoureconomybycreatingmarqueeeventsthatattracttourists.”

Friesen,whohasbeenatthehelmofTheCalgaryFoundationsince2005,hasconsistentlydemonstratedthisbeliefinthepowerofthearts.In2012-13,theorganizationwaspartofasteeringcommitteeforCalgaryArtsDevelopment,taskedtoproduceanartsdevelopmentstrategyforCalgary.Together,theyengagedover1,000voicesthatproducedLivingaCreativeLife,anartsimplementationplantoengagepeopleofallagesandwalksoflife.

ACADhasbeenasignificantbeneficiaryofTheCalgaryFoundation’scommitmenttotheartswithTheCalgaryFoundationsupportinganumberofspecialinitiativegrantsatACADthroughoutthepast20years.Thisyear,TheCalgaryFoundationmadeagranttoACADthatenabledtheCollegetobeakeypartnerinahistoricalexhibitandinternationalsymposium,Stronger than Stone.Thissymposiumbringstogetherworld-renownedartistsandthinkersandgaveACADanimportantopportunitytocollaboratewithlargeinstitutionsandgalleriesincludingtheUniversityofSaskatchewanandtheMendelArtGallery(readmoreaboutStronger than Stone onpage7).

Inadditiontogrants,TheCalgaryFoundationprovidesongoingfinancialsupporttoACADstudentsthroughaninterestingmixofscholarshipsandotherawardsfundedthroughdonor-directedfunds,including:

Eva Friesen –

Opening doors for

investment in the arts


• TheM.James&ElsieMathiesonCharitableTrustFundannualscholarshipsinphotography

• TheJanetMitchellScholarshipforpromisingstudentsinthevisualarts

• TheOwenScholarshipforsingleparentsstudyingpart-time

• TheNewzonesGalleryofContemporaryArtGraduatingScholarshipsupportingahighachievinggraduatestudentinpainting,drawingorsculpture

• TheNicoleJenniferCreigMemorialScholarship

• TheJames&LillianBuddAwardforstudentswithdisabilities

• TheSusanAgopsowiczScholarship,AlumniandFriendsAward

Thenumerousscholarships,grantsandotherawardsthatTheCalgaryFoundationfacilitatesanddirectstoACADhavetangibleresultsintherealworld.SaysFriesen,“ACAD

shouldbesoproudthatcountlessACADgraduatesaremakingremarkablecontributionstoourcommunity,country,andbeyond”.ACADgraduateshavegoneontostartsuccessfulcompanies,contributebeautifulartworktothecity’spublicspaces,teachandmentoryoungpeopleinthecommunity,fostercreativityandentrepreneurshipinallindustries,anduseartasawaytohealtoinspirepeopleinallsegmentsofsociety.

FriesenmakesastrongpointthatACAD’sroleextendsbeyondtrainingandeducatingthosewhowanttomakeacareerinfineart,designormediaarts.ACADplaysavitalroleforpeoplewhohaveothercareersandarepassionateabouttheartsasafundamentalpartoftheireverydaylives.Throughitseducationprogramandbyitsverypresenceinthecommunity,ACADcanopenthedoorforeveryonetoliveacreativelife.

FormoreinformationaboutTheCalgaryFoundationandhowtosupportACADthroughgrantsandscholarships,pleasevisitthecalgaryfoundation.org


Nurturing art, growing creativity Our Generous Partners

RecentACADgraduateKrisWeinmannwantstostayconnectedwithhisalmamatertowitnessthevisualculturethatisactivelybeinggeneratedthere.“It’senergizingandinspiringtokeepclosetotheschool.Itletsmekeepmyfingeronthepulseofnewartisticideasandopportunities.”ItiswhyWeinmannchosetobecomeanACADSquaresosoonaftergraduating(hegraduatedin2012withhisBFAinpainting).InfacthewaspartofthecommitteethatdefinedthenewlylaunchedACADSquaresprogramthatfacilitateslearningopportunitiesforACADstudentsandfostersaconnectionbetweentheCollegeandthepublic.

ItisthisconnectionthatWeinmannsaysisvitalforthelong-termsustainabilityofACAD,andinturnforourcityandprovince.Hebelievesthatwhathecallsa“languagebarrier”existsbetweenthegeneralpublicandartists,wherethepubliccan’tquiteconnectthedotsastohowtheartscontributetothegrowthofthecity’seconomyandenrichitsculturalfabric.“OncepeoplestarttorecognizetheimportanceoftheartsandhowsignificantlyACADgraduateshaveimpactedtheircity,that’swhenwe’llbeinabetterposition

tocompetewiththerestoftheworld.”HepointstoCriticalMass,HeavyIndustriesandF&DSceneChangesasexamplesofhighlysuccessfulorganizations,allestablishedbyACADalumni,whichhavesignificantlyimpactedthecityfrombothaneconomicandculturalperspective.

TheACADSquaresprogramenablescelebratedandsuccessfulartistsfromaroundtheworldtovisitACAD,enhancingclassroomexperiencewithreal-lifeglobalbestpractices.ThesevisitingartistshelpequipACADstudentswiththetoolsnecessarytobecomesuccessfulaftergraduation.Theprogramalsofacilitatesstudentsandfacultytoattendresidenciesandtravelprogramsanywhereintheworldwheretheycanenhancetheirpracticethroughlessonslearnedfromartistsindifferentcultureswhohaveadifferentwayoflookingattheworld.

Weinmannisastrongbelieverthatstudentsneedtoengagewiththeworldandunderstandwhatisouttherebylearningnewmethodologies,seeingunfamiliarvisuallanguages,andexperiencingdifferentcultures.TheACADSquaresprogramallowsstudentstotakewhattheylearnfromvisitingartistsorthroughtheirown

travel,addittotheirreservoirofinformation,andsynthesizeitintotheirownwork,cultivatingstrongerandbetterartisticpractices.

ForWeinmann,theACADSquaresprogramisameansforACADtocelebrateandpromoteitsachievements.OneofthebenefitsofbeinganACADSquareisbeingabletomeetandinteractwiththestudentsandseefirst-handhowtheCollege’seducationprocessworks.“Whenpeopleparticipateinclassroomworkshopsthereisoftenamagicthatoccurs”,saysWeinmann.ThismagictranslatesintoafulleranddeeperunderstandingofhowACADanditsgraduatesimpactourcity’svisualculture,ourrelationshipswithothersinthecommunity,andthetangiblesocietalbenefitsthatarisefromthis.Inthisway,theACADSquaresprogramconnectsthedotsbetweenartistsandthegeneralpublicandenablesmemberstochampionACADasaworld-classartsandculturehub.

There are multiple levels of membership in the ACAD Squares program, each with special benefits. For more information or to become an ACAD Square please visit acad.ca/acadsquares or email [email protected].

Spotlight: ACAD Squares

Kristopher Weinmann

- Supporting visual

culture


BOARD OF GOVERNORS GRADUATING STUDENT AWARDS Ceramics Byron RempleDrawing Jake Klein-WallerFibre Christine ThomsonGlass David MartinJewellery + Metals Brittany SteinhublMedia Arts + Digital Technologies Nick HeerPainting Deepechhya OjhaPhoto Bobby NgPrint Alyson PaulsonSculpture Alexandria InksterVCD Advertising Mary Kathryn PresceskyVCD Character Design Micaela de BoerVCD Graphic Design Ruth LeeVCD Illustration Ryan Pearse

ALUMNI AWARDS Alumni Legacy Award Jeff de BoerBoard of Governors Alumni Award of Excellence Jeff de BoerAlumni Horizon Awards Matthew Bourree Larissa Tiggelers Kristopher Weinmann Alumni Honour Awards Brian Batista Elisabeth Belliveau William Bewick Jaan Poldaas Chad VanGaalenAlumni Legacy Awards Jeff de Boer Tammy McGrath Bev ToshTD Insurance Meloche Monnex Alumni Awards Steve Cottingham Julia JungwirthEnbridge Alumni Professional Development Award Bev Tosh

ENTRANCE AWARDS 3M Direct Entry Scholarship Emily StoneACAD Entrance Awards Logan Echols Nathanael Evans Dale Feeler Taryn Garrett Khloe Ilsley Taryn Mallas Riley Meek-Schulz Michelle Novak Ellen Patterson Miles Petrick Sheyenne Smith Derek Sproule Emily Stone Erika (Bronwyn) Von Niessen Haibo XuShow Off Scholarships Kyrsten Lofts Robyn ShouldiceContinuing Arts Association First Year Scholarship Alexandra Hodgson

STUDENT SCHOLARSHIPS + AWARDS ACAD Drawing Community Service Scholarship Victoria Braun Keesha PalmerACAD First Year Studies Scholarship Andrew Argue Mariah Brusatore Jordan Chow Haley Craw Saje Damen

Megan Feniak Elizabeth Friesen Nicole Haywood Jamie Kroeger Martina Laird-Westib Michelle Lazo Yao Li Joelle Lino-Wiseman Emilie-Justine MacPhail Tierra Marasse Hannah Palmer Gabrielle Parent Mary Sanche Claudia Sanchez Daza Adele Schatschneider Mareike Stobbe Claire Taylor Kristina VidakACAD Second Year Drawing Major Merit Scholarship Amanda Chan Jordan SchinkelACAD Second Year Scholarship Vanessa Chaplin Giulia Comin Amy Cornelson Sadia Fakih Brandon Giessmann Mary Haasdyk Emily Hurst Fong Ku Carolyn Mackenzie James Mulholland Mitchell Nabata Kellie Reid Linda Roberts Katerina Slaba Ella Valge-SaarACADSA Second Year Legacy Award Chelsea Yang-SmithACAD Third Year Drawing Major Merit Scholarship Hannah Petkau Sara Rennie Sean TaalACADSA Third Year Legacy Award Stephanie OrrACAD Fourth Year Drawing Major Merit Scholarship Solveig Agecoutay Svea Ferguson Tait WilmanACADSA Fourth Year Legacy Award Anna Burger-MartindaleACAD Sculpture Major Award Emily Promise Allison Nicole TritterACAD Student Travel Scholarship Nicole Brunel Joel Farris Sarah Grodecki Leah Kudel Luke Maddaford Stephanie OrrAlberta Potters Association Ceramics Scholarship Shannon LeardoAlberta Society Of Artists Scholarship Ella Valge-Saar Morgan PinnockArtstream Scholarship Jessica RobertsonBarbara + John Poole Family Scholarship Fund Emily Promise Allison Carlin Brown Erin Campbell Philip Kanwischer Jake Klein-Waller Leah Kudel Tait Wilman

ACAD Awards + Accomplishments


Bernard Franklin Stockland Memorial Scholarship Frances MottaBob Ranson Memorial Scholarship Carson TofinCalgary Sketch Club Scholarship Giulia Comin Ella Valge-SaarContinuing Arts Association Travel Scholarship Amy Pon Alisa ProshuninaDelwyn Darling Memorial Scholarship Christina Bennett Christopher KohanikDoris Brown Memorial Scholarship Shyla Baron Carlin BrownDr. JC Sproule Memorial Scholarship Mia RileyDr. Ray Sr. And Honey Ray Memorial Scholarship Daniel CleghornEugene Ouchi Memorial Scholarship Taylor PlemelExcellence In Sculpture Scholarship Emily Promise AllisonFibre Major Innovative Deveopment Award Stephanie Orr Sandrine WeltzinFrances A Rodgers Excellence Endowment Mia RileyFrances A Rodgers Scholarship In Ceramics Kelsey MercierFrank Vervoort Memorial Scholarship Nicole BrunelGDC Alberta South Chapter Scholarship Sarah GonzalesGlass Student Fund Scholarship Kate SlabaHarley Brown Artistic Scholarship Tait Wilman Carlin BrownHenry Clinton Scholarship Fund Lauren Shipton Gladzy Kei ZunigaHomesteader’s Legacy Scholarship Toni QuanqIgnac + Karla Herskovic Memorial Scholarship Carlin Brown Leah KudelIgnac + Karla Herskovic Travel/ Fine Art Study Scholarship Kelsey TovellIllingworth Kerr Scholarship Katriona Drijber Fong Ku Christine Thomson Kathryn Cooke Laura Read Svea FergusonJanet Mitchell Award (The Calgary Foundation) Philip KanwischerJanine Trudel + Steve Coughlin + Family Memorial Scholarship Sarah GonzalesJenny Belzberg Endowment Benjamin Gervais Nicole TritterJewellery + Metals Execution of Conceptually Based Work Fei SuJewellery + Metals Fourth Year Studio GPA Anna Burger-MartindaleJewellery + Metals Major Prize Fei SuJewellery + Metals Technical Merit Prize Melanie Archer Stephanie ElderfieldJoane Cardinal-Schubert Memorial Scholarship Alyssa EllisJohn Brocke Memorial Scholarship Matthew NgJohn H. + Kathleen Snow Scholarship Jade CarpenterLarge Glass Award Lusia StetkiewiczLaura Mae Stillings Scholarship Carlin BrownLiberal Studies Essay Prize Victoria BraunM. James + Elsie Mathieson Scholarship (The Calgary Foundation) Stephanie Haynes

Philip Kanwischer Taryn Nakamura Bobby Ng Carson TofinMedia Arts + Digital Technologies Third Year Research + Production Tessa SechayMedia Arts + Digital Technologies Fouth Year Research + Production Mathew LindenbergMedia Arts + Digital Technologies Fourth Year Travel Manuel ErmecheoMedalta Residency Award Adam LefebureMobility + Exchange Travel Scholarship – Winter Kelsey TovellNew York Studio Residency Program Nicole Brunel Morgan PinnockNicole Jennifer Creig Memorial Scholarship Jennifer FedorowichOwen Scholarship (The Calgary Foundation) Kelly ArchibaldPainting Second Year Award Marcia FisherPainting Third Year Award Carlin Brown Nicole Brunel Chloe SaundersPainting Fourth Year Award Erin Campbell Sarah Grodecki Larissa HauckPassion Pages Morgan Pinnock Photography Major Second Year Student Recognition Award Jade TyackePhotography Major Third Year Student Recognition Award William EasonPhotography Major Fourth Year Student Recognition Award Brittany NickersonPhotography Major Public Service Award – Winter Natalia BarberisPhyllis Balm Purchase Award Dayna EllenPhyllis Balm Student Award Karin McginnPilchuck Glass School Scholarship Leah KudelPlainsman Clay Limited Scholarship Ella Valge-SaarPrint Media Travel Scholarship Nicole EdmondPrint Portfolio Scholarship Scott Baird Felicity HartRondi Lee Johnson Memorial Ceramics Scholarship Byron RempleRondi Lee Johnson Memorial Ceramics Community Scholarship Catherine DaleRyan Lovett Painting Scholarship Oliva StecklyShaw Communications Professional Opportunity + Experience Award Amy PonStanford Perrott Innovative Projects Scholarship Leah Kudel Stephanie Orr Jiyi RheeStudio At The Corning Museum of Glass Brianna GluszakSusanne Agopowicz Memorial Scholarship Anna Burger-Martindale Keesha PalmerTD Insurance Meloche Monnext Career Award for Graduating Students Lyndsay WaskoThe Calgary Herald Centennial Scholarship Lauren ShiptonTyler Johnson Memorial Scholarship Nicole BrunelTyman And Victor Bronz Memorial Glass Scholarship Graeme Dearden


OVERALL RESULTS AND OUTLOOK

TheFinancialResultsfortheyearendedJune30th,2014reflectsanoveralloperatingshortfallof$259kandavariancetobudgetfortheyearof$270k.Thisisduetoanunfavourableoverallrevenuevarianceof$269kprimarilyduetofewerstudentFLEs(of73comparedtobudget)andareductioninoverallfeescomparedtobudgetof$990k,andunrealizedtargetedrevenuegenerationofapproximately$172k.Theserevenueshortfallswereoffsetbyhigherlevelsofprovincialandothergrantsthanbudgetedof$944kincludingthereceiptofunexpectedprovincialgrantsof$433ktooffsetannouncedtuitionfreezesandpreviouslyannouncedgrantreductionsin2013-2014.Summerfloodingandphonesystemchallengesin2013-2014impactedsomerevenuesinExtendedStudies.

Theyearendedwithnoexpenditurevariancecomparedtobudgetalthoughthecollegehadanumberofonetimeinitiativesincludedintheyearthatwerefundedfromdeferredrevenuesandtransfersfromrestrictedoperatingreservesof$435kwhichmorethanoffsettheresultingnetdeficit.ItisexpectedthatrevenuegenerationtosupportprogramsandserviceswillhoweverbeanimportantchallengeastheCollegecontinuestoaddressfutureplansforsustainability.

Expendituresinmostareasdidtrackgenerallyfavourablyfortheyearwiththeexceptionofsessionalsalarieswhichwere71%higherthanbudgetduetothefillingoffacultyvacanciesandtherequiredbackfillingofpositionsduetoanumberofextendedillnessleaves.Sometimingdifferencesrelativetotheproratedbudgetswerealsoevidentduringtheyear,suchaspurchasesinthebookstore,butthesedidleveloutoverthelatterhalfoftheyearasactivitylevelsincreasedordecreasedinsomeareasduetothewinterstartup.Expenditureswerealsofavourableforutilities,ITmaintenance,telephoneservices,andcustodialservicesdueinparttovariancesfromcontractandbilledratechangeincreases.

Summary of Key Variances and Financial StatusREVENUES

TotalRevenuesfortheperiodendingJune30,2014are$20,306kcomparedto$21,333kforthesameperiodlastyearrepresentingadecreaseof1.3%frombudgetedrevenue.

TherehasbeenanoveralldecreaseingovernmentfundingtoACADcomparedtothesameperiodlastyearof$980k.ThisdecreaseisprimarilyduetoareductioninrecognizedEarnedCapitalContributionsassociatedwiththeamortizationofbuildingimprovementsoveralongerestimatedbuildinglifeandlowergrantsduetoannouncedbasegrantreductionsfortheyear.For2013-2014theProvinceannounceda7.3%reductioningrantsandatuitionfreeze.Thiswaspartiallyoffsetbythereceiptof$305kinone-timeprovincialfundingforenrollmentpressures,equivalentto2.6%anda$105kgranttooffsettheannouncedtuitionfreeze,whichwouldhavebeenequivalenttoa2.15%inflationaryincreaseundertheProvincialRegulations.Withaboutsixty-fivepercent(65%)ofACADfundingcomingfromgovernmentgrants,challengestomeetexpenditureincreasesoverthecomingyearswillcontinuetobeexpectedifgrantlevelsarenotimproved.

ThenumberofadmittedstudentstoFirstYearStudiesforthe2013/14academicyearwas300studentswithverylittlechangefrom2012/13.Thenumberofstudentswhowereadmittedwasfromapoolof614completedFirstYearStudiesapplicants,thehighestleveltheCollegehasexperiencedinrecentyears.Movingforward,theCollegewillfocusonincreasingthenumberofcompletedapplicantsto716by2016inanefforttoensurethebestpoolofadmittedstudentspossible.Thisstrategywillalsoincludeafocustoattractmoreinternationalapplicants,especiallyfromtheUS.

Management Discussion + AnalysisFINANCIAL STATEMENTS FOR THE YEAR ENDED JUNE 30, 2014


StudenttuitionandotherfeesattheendofJune30,2014arereportedas$5,560kversus$5,908kforthesameperiodlastyearasstudentenrolmentremainedbelow2012/13levelsforextendedstudiesbyapproximately35FLEs.Feesarebelowbudgetedrevenueby$998kduetothedecreaseinenrolmentoverplannedincreasesbyalmost73FLEs,andthetimingofsomeprogramrevenuesforExtendedStudiesSpringcourseenrolment.AshiftofcreditcourseprogrammingbacktoExtendedStudiesbeginningin2012-2013didhelptomeetourbudgetedrevenuetargetsforExtendedStudiesin2013/14;however,overalllevelsareexpectedtoremainbelowprioryears.

EXPENSES BY OBJECT

Totalexpensesatyearendwere$20,565k,adecreaseof2.6%comparedto$21,117kduringthesameperiodlastyear.ThisdecreasewasprimarilyduetoadecreaseinMaterials,SuppliesandServices($49k),adecreaseinUtilities($103k),adecreaseinCostofgoodssold($20k)adecreaseinamortizationofcapitalassets($511k)adecreaseinMaintenanceandrepair($6k)adecreaseinSalariesandBenefits($12k)offsetbyanincreaseinScholarships,BursariesandAwards($147k).

TotalSalariesandbenefitcostsatyearendwere$14,046kcomparedto$14,038kforthesameperiodlastyearresultingfromcontractualincreasestoCollectiveBargainingagreementsandincreasedExtendedHealthcarebenefitcosts.Inadditiontogridstepchangesforstaffandfaculty,AUPErateincreasesaveraged2.75%.Exemptemployeerateincreasesaveraged2.5%andmanagementsalariesremainedunchanged.Facultysalaryratesalsoremainedunchangedasbargainingforthecurrentyearwaspostponedandthecurrentcontractremainedinplacefortheyear.Salariesandbenefitsremainedbelowbudgetoverallby3.8%primarilyduetovariouspositionvacanciesthroughouttheCollege.

Material,suppliesandservicesexpensesare$3,897kcomparedto$3,959kforthelastyear.ThisdecreasewasminimalandreflectedanumberoffavourablevariancesforservicesthroughouttheCollege(e.g.,communications,computingsupport,andcontractcostsforservices).

Utilitiesexpensesatyearendwere$1,080kcomparedto$1,181kforthesameperiodlastyearasaresultofalowerthananticipatedusagecomparedtotheprioryear.Utilitiesexpensesremainedlowerthan$1,269kbudgetedfortheperiodasaresultlowerthanbudgetedrateincreasesfortheyearfromSAIT.Maintenanceandrepaircostsdecreasedto$55kfortheperiodcomparedto$61kforthesameperiodlastyear.Repairsandmaintenanceareonlycompletedwhenrequiredandfewerpiecesofequipmentwereinneedofrepair.

Scholarships,bursariesandawardsexpensesatyearendwere$424kcomparedto$277kforthesameperiodlastyearasaresultofincreasedeffortsbytheStudentExperiencegrouptoissueawardsduringthisperiod.Scholarships,bursariesandawardsexpensesremainedlowerthan$444kbudgetedfortheyearresultingfromfewerShowOff!EntranceScholarshipawardsissuedandadelayinissuanceofcertainremainingawardsuntilyearend.

Amortizationexpensesfortheperioddecreasedto$700kfromtheprioryear$1,211kduetothechangetotheamortizationperiodfortheBuilding.ThefacilitylicenseprovidingtherighttousethebuildingwasfullyamortizedattheendoftheprioryearJune30.

EXPENSES BY FUNCTION

Instruction

Instructionexpensesatyearendwere$8,173kcomparedto$7,821kforthesameperiodlastyearasaresultoftheCollege’s


focusonprogramdevelopmentandspecialprojects.Instructionexpensesremainedlowerthanbudgetedfortheperiodfromacombinedeffectofsalarysavingsfrompermanentpositionsnotbeingfilledoffsetbyincreasedsessionalreplacementsalaries.

Academic and student support

Academicandstudentsupportexpensesatyearendwere$4,693kcomparedto$5,493kforthesameperiodlastyearasacombinationofthepositionbudgetfortheCollegetechniciansbeingmovedtoinstructionfromtheacademicadministrationsupport($561k)andtheoverallreductionwithinGalleryAdministrationandsalarysavingsfromvacantpositionswithintheLibrary.Academicandstudentsupportexpensesalsoremainedlowerthanbudgetedfortheperiodresultingfromacombinedeffectofsalarysavingsfrompermanentpositionsandsavingsassociatedwithstudentsoftwarerequirements.

Facility operations and maintenance

Facilityoperationsandmaintenanceexpensesatyearendwere$2,738kcomparedto$3,275kforthesameperiodlastyearprimarilyduetoareductioninamortizationexpensesassociatedwiththebuildingimprovementsoveralongerestimatedbuildinglife.FacilityoperationsandmaintenanceexpensesalsoremainedlowerthanbudgetedfortheperiodasresultoflowerthanexpectedresultsforcostsforPowerandSteam($320k)andfromSodexoforcaretakingservices($115k).

Institutional support

Institutionalsupportexpensesatyearendwere$3,991kcomparedto$3,683kforthesameperiodlastyearasaresultofincreasedexpensesforengagementandcommunications,offsetbyoverallsavingswithinFinanceOperationsandcostsassociatedwithsomespecialprojectswithintheEngagementarea.Institutionalsupportexpenseswerehigherthanbudgetedfortheperiodasexpendituresforotherspecialandunbudgetedprojectstotaling$464kimpactingoperatingcostshadbeenfundedfromreservesanddeferredfundsduringtheyear.

Ancillary services

Ancillaryservicesexpensesatyearendwere$788kcomparedto$841kforthesameperiodlastyeardueprimarilytotheeliminationofFoodServicescontractsattheendoflastyear.AncillaryservicesexpenseswerehigherthanbudgetedfortheperioddueinparttotimingdifferencesforinventorysuppliespurchasesastheBookstorepreparedforwinterandspringsemesters.

Sponsored research

Sponsoredresearchexpensesatyearendwere$182kcomparedto$4kforthesameperiodlastyear.Sponsoredresearchexpenseswerehigherthanbudgetedfortheperiodasexpendituresforresearchprojectsusereservesanddeferredfundsthatarenotincludedinthegeneraloperatingbudget.


Financial StatementsFOR THE YEAR ENDED JUNE 30, 2014

IndependentAuditor’sReport

StatementofFinancialPosition

StatementofOperations

StatementofCashFlows

StatementofRemeasurementGainsandLosses

NotestotheFinancialStatements


Independent Auditor’s Report TO THE BOARD OF GOVERNORS OF ALBERTA COLLEGE OF ART AND DESIGN

REPORT ON THE FINANCIAL STATEMENTS

IhaveauditedtheaccompanyingfinancialstatementsofAlbertaCollegeofArtandDesign,whichcomprisethestatementoffinancialpositionasatJune30,2014,andthestatementsofoperations,remeasurementgainsandlosses,andcashflowsfortheyearthenended,andasummaryofsignificantaccountingpoliciesandotherexplanatoryinformation.

MANAGEMENT’S RESPONSIBILITY FOR THE FINANCIAL STATEMENTS

ManagementisresponsibleforthepreparationandfairpresentationofthesefinancialstatementsinaccordancewithCanadianpublicsectoraccountingstandards,andforsuchinternalcontrolasmanagementdeterminesisnecessarytoenablethepreparationoffinancialstatementsthatarefreefrommaterialmisstatement,whetherduetofraudorerror.

AUDITOR’S RESPONSIBILITY

Myresponsibilityistoexpressanopiniononthesefinancialstatementsbasedonmyaudit.IconductedmyauditinaccordancewithCanadiangenerallyacceptedauditingstandards.ThosestandardsrequirethatIcomplywithethicalrequirementsandplanandperformtheaudittoobtainreasonableassuranceaboutwhetherthefinancialstatementsarefreefrommaterialmisstatement.

Anauditinvolvesperformingprocedurestoobtainauditevidenceabouttheamountsanddisclosuresinthefinancialstatements.Theproceduresselecteddependontheauditor’sjudgment,includingtheassessmentoftherisksofmaterialmisstatementofthefinancialstatements,whetherduetofraudorerror.Inmakingthoseriskassessments,theauditorconsidersinternalcontrolrelevanttotheentity’spreparationandfairpresentationofthefinancialstatementsinordertodesignauditproceduresthatareappropriateinthecircumstances,butnotforthepurposeofexpressinganopinionontheeffectivenessoftheentity’sinternalcontrol.Anauditalsoincludesevaluatingtheappropriatenessofaccountingpoliciesusedandthereasonablenessofaccountingestimatesmadebymanagement,aswellasevaluatingtheoverallpresentationofthefinancialstatements.

IbelievethattheauditevidenceIhaveobtainedissufficientandappropriatetoprovideabasisformyauditopinion.

OPINION

Inmyopinion,thefinancialstatementspresentfairly,inallmaterialrespects,thefinancialpositionofAlbertaCollegeofArtandDesignasatJune30,2014,andtheresultsofitsoperations,itsremeasurementgainsandlosses,anditscashflowsfortheyearthenendedinaccordancewithCanadianpublicsectoraccountingstandards.

[OriginalsignedbyMerwanN.Saher,FCA]

AuditorGeneralOctober29,2014Edmonton,Alberta


ALBERTA COLLEGE OF ART AND DESIGN STATEMENT OF FINANCIAL POSITIONAsatJune30 (thousands of dollars) 2014 2013

ASSETS

Cashandcashequivalents(note3) $ 7,849 $ 8,707

Portfolioinvestments(note4) 7,858 6,701

Accountsreceivable(note6) 231 214

Inventoriesandprepaidexpenses 583 548

Tangiblecapitalassets(note7) 4,976 5,145

$ 21,497 $ 21,315

LIABILITIES

Accountspayableandaccruedliabilities $ 2,019 $ 1,987

Employeefuturebenefitliabilities(note8) 87 239

Debt(note9) 126 157

Deferredrevenue(note10) 10,119 9,649

12,351 12,032

NET ASSETS

Endowments(note11) 4,484 4,369

Accumulatedoperatingsurplus(note12) 4,655 4,914

Accumulatedremeasurementgainsandlosses 7 -

$ 21,497 $ 21,315

Contingentliabilitiesandcontractualobligations(note14and15)

The accompanying notes are part of the financial statements.


STATEMENT OF OPERATIONSFortheyearendedJune30 Budget2014 (thousands of dollars) (note20) 2014 2013

REVENUES

GovernmentofAlbertagrants $ 12,230 $ 12,944 $ 13,924

Federalandothergovernmentgrants 65 290 234

Studenttuitionandfees 6,558 5,560 5,908

Salesofservicesandproducts 902 871 878

Donationsandothercontributions 700 528 270

Investmentincome(note16) 120 113 119

20,575 20,306 21,333

EXPENSES

Instruction 8,773 8,173 7,821

Academicandstudentsupport 4,942 4,693 5,493

Institutionalsupport 3,190 3,991 3,683

Facilityoperationsandmaintenance 2,892 2,738 3,275

Ancillaryservices 767 788 841

Sponsoredresearch - 182 4

20,564 20,565 21,117

Operating(deficit)surplus 11 (259) 216

Accumulatedsurplusfromoperations,beginningofyear 4,914 4,914 4,698

Accumulatedsurplusfromoperations,endofyear $ 4,925 $ 4,655 $ 4,914


STATEMENT OF CASH FLOWSFortheyearendedJune30,2014 (thousands of dollars) 2014 2013

OPERATING TRANSACTIONS

Operating(deficit)surplus $ (259) $ 216

Add(deduct)non-cashitems:

Amortizationoftangiblecapitalassets 700 1,211

Lossondisposaloftangiblecapitalassets 214 36

Expendedcapitalrecognizedasrevenue (625) (861)

Changeinemployeefuturebenefitliabilities (152) (138)

Totalnon-cashitems 137 248

(Increase)decreaseinaccountsreceivable (17) 48

(Increase)ininventoriesandprepaidexpenses (35) (30)

Increaseinaccountspayableandaccruedliabilities 32 476

Increase(decrease)indeferredrevenue 83 (210)

Cash provided by operating transactions (59) 748

CAPITAL TRANSACTIONS

Acquisitionoftangiblecapitalassets (745) (1,274)

Cash applied to capital transactions (745) (1,274)

INVESTING TRANSACTIONS

Purchasesofportfolioinvestments,netofsales (138) (132)

Endowmentinvestmentearnings 30 27

Cash applied to investing transactions (108) (105)

FINANCING TRANSACTIONS

Endowmentcontributions 85 94

Debt–newfinancing(repayment) (31) 74

Cash provided by financing transactions 54 168

Decrease in Cash and Cash equivalents (858) (463)

Cash and Cash Equivalents, beginning of year 8,707 9,170

Cash and Cash Equivalents, end of year (Note 3) $ 7,849 $ 8,707


STATEMENT OF REMEASUREMENT GAINS AND LOSSESFortheyearendedJune30,2014(thousands of dollars) 2014 2013

Accumulatedremeasurementgains(losses)atbeginningofyear $ - $ -

Transitionaladjustmentsforadoptionoffinancialinstrumentsstandard - 17

Unrealizedgainsattributabletoforeignexchange 7 -

Amountsreclassifiedtostatementofoperations - (17)

Accumulated remeasurement gains at end of year $ 7 $ -


1 . AUTHORITY AND PURPOSE

TheBoardofGovernorsoftheAlbertaCollegeofArtandDesignisacorporationwhichmanagesandoperatestheAlbertaCollegeofArtandDesign(“theCollege”)underthePost-Secondary Learning Act (Alberta).AllmembersoftheboardofgovernorsareappointedbyeithertheLieutenantGovernorinCouncilortheMinisterofInnovationandAdvancedEducation,withtheexceptionofthePresident,whoisanex officio member.UnderthePost-Secondary Learning Act ,Campus Alberta Sector Regulation,theCollegeisaspecializedartsandcultureinstitutionmandatedtoofferfour-yearundergraduateandgraduatedegreesinvisualartanddesign.TheCollegeisaregisteredcharity,andundersection149oftheIncome Tax Act (Canada),isexemptfromthepaymentofincometax.

2. SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES AND REPORTING PRACTICES

a. General – Public Sector Accounting Standards and Use of EstimatesThesefinancialstatementshavebeenpreparedinaccordancewithCanadianpublicsectoraccountingstandards(PSAS).Themeasurementofcertainassetsandliabilitiesiscontingentuponfutureevents;therefore,thepreparationofthesefinancialstatementsrequirestheuseofestimates,whichmayvaryfromactualresults.TheCollege’smanagementusesjudgmenttodeterminesuchestimates.Amortizationoftangiblecapitalassetsandrestrictedexpendedcapitalrecognizedasrevenuearethemostsignificantitemsbasedonestimates.Inmanagement’sopinion,theresultingestimatesarewithinreasonablelimitsofmaterialityandareinaccordancewiththesignificantaccountingpoliciessummarizedbelow.Thesesignificantaccountingpoliciesarepresentedtoassistthereaderinevaluatingthesefinancialstatementsand,togetherwiththefollowingnotes,shouldbeconsideredanintegralpartofthefinancialstatements.

b. Non-use of Net Debt Model FormatCanadianpublicsectoraccountingstandardsrequireanetdebtpresentationforthestatementoffinancialpositioninthesummaryfinancialstatementsofgovernments.Netdebtpresentationreportsthedifferencebetweenfinancialassetsandfinancialliabilitiesasnetdebtornetfinancialassetsasanindicatoroffuturerevenuesrequiredtopayforpasttransactionsandevents.TheCollegeoperateswithinthegovernmentreportingentity,anddoesnotfinanceallitsexpendituresbyindependentlyraisingrevenues.Accordingly,thesefinancialstatementsdonotreportanetdebtindicator.

c. Valuation of Financial Assets and LiabilitiesTheCollege’sfinancialassetsandliabilitiesaregenerallyclassifiedandmeasuredasfollows:

Financial Statement Components Measurement

Cashandcashequivalents AmortizedCost

Portfolioinvestments FairValue

Accountsreceivable AmortizedCost

Accountspayableandaccruedliabilities AmortizedCost

Debt AmortizedCost

Unrealizedgainsandlossesfromchangesinthefairvalueofunrestrictedfinancialinstrumentsarerecognizedinthestatementofremeasurementgainsandlosses.Uponsettlement,thecumulativegainorlossisreclassifiedfromthestatementofremeasurementgainsandlossesandrecognizedinthestatementofoperations.


Unrealizedgainsandlossesfromchangesinthefairvalueofrestrictedfinancialinstrumentsarerecognizedasaliabilityunderdeferredrevenue.

Allfinancialassetsaretestedannuallyforimpairment.Whenfinancialassetsareimpaired,impairmentlossesarerecordedinthestatementofoperations.Awrite-downofaportfolioinvestmenttoreflectalossinvalueisnotreversedforasubsequentincreaseinvalue.

Forfinancialinstrumentsmeasuredusingamortizedcost,theeffectiveinterestratemethodisusedtodetermineinterestrevenueorexpense.Transactioncostsareacomponentofcostforfinancialinstrumentsmeasuredusingcostoramortizedcost.Transactioncostsareexpensedforfinancialinstrumentsmeasuredatfairvalue.Investmentmanagementfeesareexpensedasincurred.

TheCollegedoesnotuseforeigncurrencyforwardcontractsoranyothertypeofderivativefinancialinstrumentsfortradingorspeculativepurposes.

Managementevaluatescontractualobligationsfortheexistenceofembeddedderivativesandelectstoeitherdesignatetheentirecontractforfairvaluemeasurementorseparatelymeasurethevalueofthederivativecomponentwhencharacteristicsofthederivativearenotcloselyrelatedtotheeconomiccharacteristicsandrisksofthecontractitself.Contractstobuyorsellnon-financialitemsfortheCollege’snormalpurchase,saleorusagerequirementsarenotrecognizedasfinancialassetsorfinancialliabilities.TheCollegedoesnothaveanyembeddedderivatives.

d. Revenue RecognitionAllrevenuesarereportedontheaccrualbasisofaccounting.Cashreceivedforwhichgoodsorserviceshavenotbeenprovidedbyyearendisrecordedasdeferredrevenue.

i. Government Grants, Non-government Grants and Donations

TheCollegerecognizesgovernmentgrants,donationsandothercontributionsasfollows:

Government transfers

Governmenttransfersarereferredtoasgovernmentgrants.

Governmenttransfersandtheassociatedexternallyrestrictedinvestmentincomearerecordedasdeferredrevenueifthetermsforuseofthetransfer,orthetermsalongwiththeCollege’sactionsandcommunicationsastotheuseofthetransfer,createaliability.Thesetransfersarerecognizedasrevenueasthetermsaremetand,whenapplicable,theCollegecomplieswithitscommunicateduseofthetransfer.

Governmenttransfers,withouttermsfortheuseofthetransfer,arerecordedasrevenuewhentheCollegeiseligibletoreceivethefunds.

Donations and Non-government contributions

Donationsandnon-governmentcontributionsarereceivedfromindividuals,corporations,andprivatesectornot-for-profitorganizations.Donationsandnon-governmentcontributionsmaybeunrestrictedorrestrictedforoperatingorcapitalpurposesorresearchpurposes.

Unrestricteddonationsandnon-governmentcontributionsarerecordedasrevenueintheyearreceivedorintheyearthefundsarecommittedtotheCollegeiftheamountcanbereasonablyestimatedandcollectionisreasonablyassured.


Restricteddonations,non-governmentcontributions,realizedandunrealizedgainsandlossesfortheassociatedexternallyrestrictedinvestmentincome,arerecordedasdeferredrevenueifthetermsfortheiruse,orthetermsalongwiththeCollege’sactionsandcommunicationsastotheuse,createaliability.Theseresourcesarerecognizedasrevenueasthetermsaremetand,whenapplicable,theCollegecomplieswithitscommunicateduse.

Inkinddonationsofservicesandmaterialsarerecordedatfairvaluewhensuchvaluecanreasonablybedetermined.WhilevolunteerscontributeasignificantamountoftimeeachyeartoassisttheCollegethevalueoftheirservicesarenotrecognizedasrevenueandexpensesinthefinancialstatementsbecausefairvaluecannotbereasonablydetermined.

ii. Endowments

Donationsandnon-governmentcontributionsthatmustbemaintainedinperpetuityarerecognizedasadirectincreaseinendowmentnetassetswhenreceivedorreceivable.Realizedgainsandlossesattributabletoportfolioinvestmentsthatalsomustbemaintainedinperpetuityarealsorecognizedasadirectincreaseinendowmentnetassetswhenreceivedorreceivable.UnrealizedgainsandlossesarerecordedasDeferredrevenueuntilrealized.

iii. Investment Income

Investmentincomeincludesdividendandinterestincome,andrealizedgainsorlossesonthesaleofportfolioinvestments.Unrealizedgainsandlossesonportfolioinvestmentsthatarefromunrestrictedgrantsanddonationsarerecognizedinthestatementofaccumulatedremeasurementgainsandlossesuntilsettlement.Oncerealized,thesegainsorlossesarerecognizedasinvestmentincomeinthestatementofoperations.

Investmentincomefromrestrictedgrantsanddonationsisrecognizedasdeferredrevenuewhenthetermsforusecreatealiability,andisrecognizedasinvestmentincomewhentermsofthegrantordonationaremet.

e. InventoriesInventoriesheldforresalearevaluedatthelowerofcostandexpectednetrealizablevalueandaredeterminedusingtheFIFOmethod.Inventoriesheldforconsumptionarevaluedatcost.

f. Tangible Capital AssetsTangiblecapitalassetsarerecordedatcost,whichincludesamountsthataredirectlyrelatedtotheacquisition,design,construction,development,improvementorbettermentoftheassets.Costincludesoverheaddirectlyattributabletoconstructionanddevelopment,aswellasinterestcoststhataredirectlyattributabletotheacquisitionorconstructionoftheasset.

Workinprogress,whichincludesfacilitiesandimprovementprojectsanddevelopmentofinformationsystems,isnotamortizeduntilaftertheprojectiscompleteandtheassetisinservice.

Capitalleaseobligationsarerecordedatthepresentvalueoffutureminimumleasepaymentsattheinceptionofthelease.Leasedequipmentisreflectedasanassetandaliabilityinthestatementsoffinancialposition.Thediscountrateusedtodeterminethepresentvalueoftheleasepaymentsistheinterestrateimplicitinthelease.

Thecost,lessresidualvalue,ofthetangiblecapitalassets,excludingland,isamortizedonastraight-linebasisovertheestimatedusefullivesasfollows:


Facilitylicense 27years(endedJune30,2013)

Buildingimprovements remaininglifeofthebuilding(16years)

Furnishingsandequipment 5years

Computerhardwareandsoftware 3–5years

TangiblecapitalassetsarewrittendownwhenconditionsindicatethattheynolongercontributetotheCollege’sabilitytoprovidegoodsandservices,orwhenthevalueoffutureeconomicbenefitsassociatedwiththetangiblecapitalassetsarelessthantheirnetbookvalue.Thenetwrite-downsareaccountedforasexpensesinthestatementofoperations.

Assetsundercapitalleaseareamortizedonabasisthatisconsistentwiththeaboveforpurchasedassets.

Contributedcapitalassetsarerecordedasrevenuesattheirfairmarketvalueonthedateofdonation,exceptincircumstanceswherefairvaluecannotbereasonablydetermined,whicharethenrecognizedatnominalvalue.Transfersofcapitalassetsfromrelatedpartiesarerecordedatthecarryingvalue.

Worksofart,historicaltreasuresandcollectionsareexpensedwhenacquiredandnotrecognizedastangiblecapitalassets.

g. Foreign Currency TranslationFinancialassetsandliabilitiesrecordedinforeigncurrenciesaretranslatedtoCanadiandollarsattheyearendexchangerate.ForeigncurrencytransactionsaretranslatedintoCanadiandollarsbyapplyingtheexchangerateineffectatthedateofthetransaction.Unrealizedgainsandlossesarerecognizedinthestatementofaccumulatedremeasurementgainsandlosses.

h. Employee Future BenefitsPension

TheCollegeparticipateswithotheremployersintheLocalAuthoritiesPensionPlan(LAPP).Thispensionplanisamulti-employerdefinedbenefitpensionplanthatprovidespensionsfortheCollege’sparticipatingemployeesbasedonyearsofserviceandearnings.

TheCollegedoesnothavesufficientplaninformationontheLAPPtofollowthestandardsfordefinedbenefitaccounting,andthereforefollowsthestandardsfordefinedcontributionaccounting.Accordingly,pensionexpenserecordedfortheLAPPiscomprisedofemployercontributionstotheplanthatarerequiredforitsemployeesduringtheyear;whicharecalculatedbasedonactuariallypre-determinedamountsthatareexpectedtoprovidetheplan’sfuturebenefits.

Long-term disability

TheCollegepaysorsharesthepremiumsforcertainbenefitsforemployeesonlongtermdisability.Thecostofprovidingnon-vestingandnon-accumulatingemployeefuturebenefitsforcompensatedabsencesundertheCollege’slong-termdisabilityplansischargedtoexpenseinfullwhentheeventoccurswhichobligatestheCollegetoprovidethebenefits.ThecostofthesebenefitsisdeterminedusingthepresentvalueoftheestimatedcostofthesepremiumsandarerecordedatthetimetheCollegebecomesobligatedundertheplan.ComparativeamountsfortheliabilityassociatedwithemployeesonlongtermdisabilitycontinuetobepresentedintheStatementofFinancialPositionasEmployeefuturebenefitliabilities.


Early Retirement Assistance and Incentive Program

FromtimetotimeandatthediscretionoftheCollege,theCollegeoffersanearlyretirementassistanceprogramforeligibleemployeeswhochoosetoretirebeforeage65.Participationinthisprogramisvoluntary.EarlyretirementbenefitsareapprovedbythePresident+CEOandcalculatedusingapercentageofaneligibleemployee’ssalaryandthenumberofcontinuousyearsofservice.Thesebenefitsaredisclosedaspartofthesalariesandbenefitsandarechargedtoexpenseinfullwhenapproved.ThelastprogramofferingoccurredinMay2012.

Other Employee Benefit Plans

TheCollegealsoprovidesemployeefuturebenefitsintheformofcompensatedabsencesforsabbaticals.ThecostofprovidingemployeefuturebenefitsforcompensatedabsencesundertheCollege’ssabbaticalplanischargedtoexpenseinfullwhentheeventoccurswhichobligatestheCollegetoprovidethebenefits.Thesebenefitsaredisclosedaspartofthesalariesandbenefits.

i. Funds and ReservesCertainamounts,asapprovedbytheBoardofGovernors,aresetasideinaccumulatedsurplusforfutureoperatingandcapitalpurposes.Transfersto/fromfundsandreservesareanadjustmenttotherespectivefundwhenapproved.

3. CASH AND CASH EQUIVALENTS 2014 2013

Cashandcashequivalents,endofyear $ 7,849 $ 8,707

Cashandcashequivalentsincludeshortterminvestmentswithashortmaturitylessthanthreemonthsfromthedateofacquisition.

4. PORTFOLIO INVESTMENTS

Thecomposition,fairvalue,andannualmarketyieldsonportfolioinvestmentsareasfollows:

2014

Level1 Level2 Level3 Total

InvestmentsatFairValue:

Portfoliomanagedfixedincome $ - $ 2,889 $ - $ 2,889

Portfoliomanagedequity - 4,969 - 4,969

$ - $ 7,858 $ - $ 7,858

2013

Level1 Level2 Level3 Total

InvestmentsatFairValue:

Portfoliomanagedfixedincome $ - $ 2,785 $ - $ 2,785

Portfoliomanagedequity - 3,916 - 3,916

$ - $ 6,701 $ - $ 6,701

Level1–Quotedpricesinactivemarketsforidenticalassetsorliabilities.

Level2–Market-basedinputsotherthanquotedpricesthatareobservablefortheassetorliabilityeitherdirectlyorindirectly.


Level3–Inputsfortheassetorliabilitythatarenotbasedonobservablemarketdata;assumptionsarebasedonthebestinternalandexternalinformationavailableandaremostsuitableandappropriatebasedonthetypeoffinancialinstrumentbeingvaluedinordertoestablishwhatthetransactionpricewouldhavebeenonthemeasurementdateinanarm’slengthtransaction.

Thefollowingtablereconcilesthechangesinfairvalueoflevel2investments:

2014 2013

Netunrealizedgains,beginningofyear $ 712 $ 120

Unrealizedgainsattributabletoportfolioinvestments 1,019 592

Netunrealizedgains,endofyear $ 1,731 $ 712

TheCollegehaspoliciesandproceduresinplacegoverningassetmix,diversification,exposurelimits,creditqualityandperformancemeasurement.TheCollege’sFinanceandAuditCommittee,asubcommitteeoftheBoardofGovernors,hasdelegatedauthorityforoversightoftheCollege’sinvestmentsunderapolicyoftheBoard.TheFinanceandAuditCommitteemonitorsinvestmentmanagerperformance,toensurecompliancewiththeCollege’sinvestmentguidelines,andtoevaluatethecontinuedappropriatenessoftheCollege’sinvestmentguidelines.

Undertheinvestmentpolicy,theprimeobjectivesoftheinvestmentfundaretogenerateincomeandtopreservethepurchasingpowerofdonatedcapital,andtogenerategrowthinthecapitalvalueoftheCollege’sinvestmentfunds.

Theprimeconstraintsthatguidetheinvestmentpracticeareriskaversionandliquidity.

5. FINANCIAL RISK MANAGEMENT

TheCollegeisexposedtoavarietyoffinancialrisks,includingmarketrisks(pricerisk,currencyriskandinterestraterisk),creditrisk,andliquidityrisk.Tomanagetheserisks,theCollegeinvestsinadiversifiedportfolioofinvestmentsthatisguidedbyestablishedinvestmentpoliciesthatoutlineriskandreturnobjectives.ThelongtermobjectiveoftheCollege’sinvestmentpoliciesistoachievealongtermrealrateofreturninexcessoffeesandexpensesandmaintaintherealvalueofthefund.

TheCollegeisexposedtothefollowingrisks:

Market RiskTheCollegeisexposedtomarketrisk-theriskthatthevalueofafinancialinstrumentwillfluctuateasaresultofchangesinmarketprices,whetherthosechangesarecausedbyfactorsspecifictotheindividualsecurity,itsissuerorgeneralmarketfactorsaffectingallsecurities.Tomanagethisrisk,theCollegehasestablishedaninvestmentpolicywithatargetassetmixthatisdiversifiedbyassetclassdesignedtoachievetheoptimalreturnswithanacceptablelevelofrisk.

ThefollowingdetailstheCollege’sportfoliosensitivitytoa3.42%increaseordecreaseinthemarketprices.Thesensitivityrateisdeterminedusingthehistoricalstandarddeviationforthetotalfundbasedona4yearrollingperiodasdeterminedbytheinvestmentadvisor.AtJune30,2014,ifmarketpriceshada3.42%(2013:3.34%)increaseordecreasewithallothervariablesheldconstant,theincreaseordecreaseinremeasurementgainsandlosses,deferredrevenue,andendowmentnetassets–externallyrestrictedcontributionsfortheyearwouldhavebeenatotalof$59(2013:$24).


Liquidity RiskTheCollegemaintainsinvestmentsthatmaynotbeimmediatelyliquid.ThisriskismanagedthroughtheCollege’sinvestmentguidelinesandotherinternalpolicies,guidelinesandprocedures.

Credit RiskTheCollegeisexposedtocreditriskoninvestmentsarisingfromthepotentialfailureofacounterparty,debtororissuertohonoritscontractualobligations.TomanagethisrisktheCollegehasestablishedaninvestmentpolicywithrequiredminimumcreditqualitystandardsandissuerlimits.Thecreditriskforaccountsreceivableisrelativelylowasthemajorityofbalancesareduefromgovernmentagenciesandcorporatesponsors.

Thecreditrisksoninvestmentsheldareasfollows:

2014 2013

Creditrating

AAA 39.6% 45.3%

AA 26.7% 23.9%

A 24.3% 25.5%

BBB 9.4% 5.3%

100.0% 100.0%

Interest Rate RiskInterestrateriskistherisktotheCollege’searningsthatarisefromthefluctuationsininterestratesandthedegreeofvolatilityoftheserates.Theriskismanagedbyvariousbankingarrangementsandotherinternalpolicies,guidelinesandprocedures.

Thematurityofinterestbearinginvestmentsisasfollows:

Lessthan1Year 1to5years Greaterthan Averageeffective 5years marketyield (%)

Cash 4,842

Cashequivalents 3,007 0.87

Portfolioinvestments,fixedincome 363 969 1,557 2.40

Commodity Price RiskTheCollegeisexposedtocommoditypriceriskasaresultofelectricityandnaturalgasusagerequiredtooperatetheCollege’sfacilities.TheCollegemanagestheserisksbymonitoringpricesandrespondinginaccordancewithinternalpolicies,guidelinesandprocedures.


6. ACCOUNTS RECEIVABLE 2014 2013

Accountsreceivable $ 231 $ 215

Lessprovisionfordoubtfulaccounts - (1)

$ 231 $ 214

7. TANGIBLE CAPITAL ASSETS 2014

Facility Building Furnishing, Computer license(1) improvements equipment(3) hardware, software(2) Total

COST

Beginningofyear $ 12,207 $ 8,176 $ 2,683 $ 2,228 $ 25,294

Acquisitions(4) - 464 161 120 745

Disposals,includingwrite-downs - (3,028) (156) (115) (3,299)

$ 12,207 $ 5,612 $ 2,688 $ 2,233 $ 22,740

ACCUMULATEDAMORTIZATION

Beginningofyear $ 12,207 $ 4,098 $ 1,956 $ 1,889 $ 20,149

Amortizationexpense - 281 244 175 700

Effectsondisposals,includingwrite-down - (2,814) (157) (115) (3,085)

$ 12,207 $ 1,565 $ 2,043 $ 1,949 $ 17,764

NetbookvalueatendofyearJune30,2014 $ - $ 4,047 $ 645 $ 284 $ 4,976

NetbookvalueatJune30,2013 $ - $ 4,079 $ 727 $ 339 $ 5,145

NointerestiscapitalizedbytheCollegetocapitalassets.

(1)ThelandandbuildingswhichhousetheCollegeareownedbySAITandareoccupiedbytheCollegeunderafacilitylicensegrantedbySAIT.ThetermofthelicenseisthrougharenewablecontractualagreementbetweentheCollegeandSAITdeterminedatthepleasureoftheMinisterofInnovationandAdvancedEducation.Thefacilitylicenseprovidingtherighttousethebuildingwasrecordedasanassetatfairvalueatthetimethelicensewasgranted.Fairvaluewasestimatedasthebuilding’samortizedreplacementcostbasedonanindependentappraisalasatApril1982andhasbeenfullyamortized.

(2)Includedincomputerhardware,software$2(2013:$0)recordedasworkinprogress,whichisnotamortizedastheassetsarenotyetavailableforuse.

(3)Includedinfurnishings,equipmentareassetsundercapitalleasesthathaveacostof$125(2013:$160)andaccumulatedamortizationof$35(2013:$155).

(4)Acquisitionsduringtheyearincludein-kindcontributionsintheamountof$4(2013:$5).

TheCollegeholdsalargenumberofcontemporaryworksofartincludingpaintings,sculptures,drawings,photographs,printsandothercraftmedia.Duetothesubjectivenatureofthevalueoftheseassets,thevaluesarenotreportedinthisnote.


8. EMPLOYEE FUTURE BENEFIT LIABILITIES

Employeefuturebenefitliabilitiesarecomprisedofthefollowing:

2014 2013

Earlyretirement $ 63 $ 202

Long-termdisability 24 37

$ 87 $ 239

a. Defined benefit plan accounted for on a defined contribution basisMulti-Employer Pension Plans Local Authority Pension Plan (LAPP)

TheLocalAuthorityPensionPlan(LAPP)isamulti-employercontributorydefinedbenefitpensionplanforsupportstaffmembersandisaccountedforonadefinedcontributionbasis.AtDecember31,2013,theLAPPreportedanactuarialdeficiencyof$4,861,516(2012:$4,977,303deficiency).AnactuarialvaluationoftheLAPPwascarriedoutasatDecember31,2012andwasthenextrapolatedtoDecember31,2013.Thepensionexpenserecordedinthesefinancialstatementsis$978(2013:$954).Otherthantherequirementtomakeadditionalcontributions,theCollegedoesnotbearanyriskrelatedtotheLAPPdeficiency.

Early Retirement Assistance and Incentive Program

LiabilitiesforfutureearlyretirementbenefitsapprovedbythePresident+CEOoftheCollegearerecordedbytheCollegeintheyeartheapplicationisapproved.Theremainingliabilityrecordedinthesestatementsis$62(2013:$202).

b. Defined ContributionLong-term disability

TheCollegeprovidescertainextendedhealthbenefitstoemployeesleavingtheemploymentoftheCollegeunderspecificconditions.LiabilitiesforfuturebenefitpaymentsrecordedbytheCollegeintheyeartheapplicationisapproved.Theremainingliabilityrecordedinthesefinancialstatementsis$24(2013:$37).

9. DEBT

TheCollegehasobligationsundercapitalleaseagreementsfortheleaseofcertaincopierandprintingequipment.Thefollowingoutstandingamountsrelatetotheseobligations:

2014 2013

Obligationsundercapitalleases $ 126 $ 157

Interestexpenseontheselong-termobligationsis$10(2013:$17)andisincludedintheStatementofOperations.

Principalrepaymentsinthenextfiveyearsareasfollows:

Long-term Leases

2015 $ 32

2016 32

2017 32

2018 30

2019 -

$ 126


10. DEFERRED REVENUE

Deferredrevenueissetasideforspecificpurposesasrequiredeitherbylegislation,regulationoragreement:

2014

Restricted Unrestricted

Deferred Unspent Spent Tuition researchand capital capital andother specialpurpose contributions contributions fees Total

Balance,beginningofyear $ 3,968 $ 1,165 $ 4,480 $ 36 $ 9,649

Grants,tuition,donationsreceived 172 365 - 5,162 6,376

Investmentincome(note16) 109 3 - - 112

Unearnedcapitalacquisitiontransfers - (522) 522 - -

Recognizedasrevenue (536) - (625) (4,884) (6,722)

Unrealizedgainsoninvestments 1,019 - - - 1,019

Scholarships,bursariesissued (179) - - - (179)

Other 40 (176) - - (136)

Balance,endofyear $ 4,593 $ 835 $ 4,377 $ 314 $ 10,119

2013

Restricted Unrestricted

Deferred Unspent Spent Tuition researchand capital capital andother specialpurpose contributions contributions fees Total

Balance,beginningofyear $ 3,681 $ 1,733 $ 4,516 $ 198 $ 10,128

Grants,tuition,donationsreceived 391 274 - 5,073 5,738

Investmentincome(note16) 99 - - - 99

Unearnedcapitalacquisitiontransfers - (825) 825 - -

Recognizedasrevenue (556) - (861) (5,235) (6,652)

Unrealizedgainsoninvestments 592 - - - 592

Scholarships,bursariesissued (220) - - - (220)

Other (19) (17) - - (36)

Balance,endofyear $ 3,968 $1,165 $ 4,480 $ 36 $ 9,649


11 . ENDOWMENTS

EndowmentsconsistofexternallyrestricteddonationsreceivedbytheCollegeandinternalallocationsbytheCollege’sBoardofGovernors,theprincipalofwhichisrequiredtobemaintainedintactinperpetuity.

InvestmentincomeearnedonendowmentsmustbeusedinaccordancewiththevariouspurposesestablishedbythedonorsortheBoardofGovernors.BenefactorsaswellasCollegepolicystipulatestheeconomicvalueoftheendowmentsmustbeprotectedbylimitingtheamountofincomethatmaybeexpendedandthereinvestingofunexpendedincome.

UnderthePost-Secondary Learning Act,theCollegehastheauthoritytoalterthetermsandconditionsofendowmentstoenable:

•incomeearnedbytheendowmenttobewithheldfromdistributiontoavoidfluctuationsintheamountsdistributedandgenerallytoregulatethedistributionofincomeearnedbytheendowment.

•encroachmentonthecapitaloftheendowmenttoavoidfluctuationsintheamountsdistributedandgenerallytoregulatethedistributionofincomeearnedbytheendowmentif,intheopinionoftheBoardofGovernors,theencroachmentbenefitstheCollegeanddoesnotimpairthelong-termvalueofthefund.

Twentyfivepercent(25%)oftheinvestmentincomeearnedonendowmentsisre-investedalongwiththeprincipaldonation(“Principal”).Theremainingseventyfivepercent(75%)isheldtofundscholarshipawards(“Expendable”).During2013-2014asmallnumberofindividualexpendablefundswereinsufficienttocoverthescholarshipaward.InthesecasestheCollegeallocateddeferredAccesstotheFutureFundsforScholarshipstofundtheshortfall.TheCollegedoesnotdrawagainsttheprincipaloftheendowmenttofundstudentawards.

Thecompositionofendowmentsisasfollows:

2014 2013

Balance,beginningofyear $ 4,369 $ 4,248

Endowmentcontributions 85 94

Capitalizedinterest(note16) 30 27

Balance,endofyear $ 4,484 $ 4,369

Cumulativecontributions $ 3,660 $ 3,575

Cumulativecapitalizedincome 824 794

$ 4,484 $ 4,369


12. ACCUMULATED OPERATING SURPLUS

Thefundsandreservesareestablishedtoshowabreakdownofaccumulatedoperatingsurplus.Thecompositionofaccumulatedsurplusisasfollows:

2014 2013

Unrestrictedsurplusfromoperations $ 2,189 $ 2,549

Internallyrestrictedsurplus(note13) 1,992 1,856

Investmentintangiblecapitalassets 474 509

Accumulatedoperatingsurplus $ 4,655 $ 4,914

Thechangesduringtheyearareasfollows:

2014 2013

Investment in tangible capital assets, beginning of year $ 509 $ 530

Acquisitionoftangiblecapitalassets 223 290

Amortizationofinvestmentintangiblecapitalassets (258) (311)

Netchangeininvestmentintangiblecapitalassets (35) (21)

Investmentintangiblecapitalassets,endofyear $ 474 $ 509

Unrestricted surplus from operations, beginning of year $ 2,549 $ 1,994

Operating(deficit)surplus (259) 216

Transfers(to)frominternallyrestrictedsurplus (136) 318

Netchangeininvestmentincapitalassets 35 21

Netchangeinaccumulatedoperatingsurplus (360) 555

Unrestrictedsurplusfromoperations,endofyear $ 2,189 $ 2,549

InvestmentintangiblecapitalassetsrepresentstheamountoftheCollege’saccumulatedsurplusthathasbeeninvestedintheCollege’scapitalassets.(Seenote13fordetailedchangesininternallyrestrictedsurplus.)


13. INTERNALLY RESTRICTED SURPLUS

InternallyrestrictedsurplusrepresentamountssetasidebytheCollege’sBoardofGovernorsforspecificpurposes.ThoseamountsarenotavailableforotherpurposeswithouttheapprovaloftheBoardanddonothaveinterestallocatedtothem.Internallyrestrictednetassetswithsignificantbalancesinclude:

Balanceat Appropriations Disbursements Balanceat beginning fromunrestricted during end ofyear netassets theyear ofyear

Appropriationforcapitalactivities:

EquipmentRenewalPlan $ 71 $ - $ - $ 71

Heating,Ventilation/AirConditioning 117 - - 117

WirelessFacilityInfrastructure 39 - - 39

HealthandSafetyProgram 206 (100) - 106

Equipment&Technology 234 - (7) 227

PresidentExcellence 19 - - 19

CapitalProjectsInitiatives 101 - (21) 80

787 (100) (28) 659

Appropriationforoperatingactivities:

Marketing,recruitmentandpromotion 44 - (33) 11

Utilities 90 - - 90

Accreditation 29 - - 29

Health&SafetyProgram - 100 (46) 54

Planning&FacilityPlanning 10 - - 10

CentrefortheCreativeProcess 50 - - 50

HumanResourceInfrastructure 211 - (108) 103

Equipment&Technology 113 - (25) 88

Awards 100 - - 100

AdministrativeOfficeRenovations 8 - - 8

Planning 100 - (29) 71

PresidentExcellence 53 - (9) 44

OperatingSupportInitiatives 186 - (26) 160

PlanningSupportInitiatives 75 - (8) 67

RevenueGenerationTargets - 100 - 100

FinanceAuditSupport2013-2014 - 100 (79) 21

CTSAuditSupport2013-2014 - 100 (73) 27

SustainabilityPlanning2013-2014 - 300 - 300

1,069 700 (436) 1,333

Total $ 1,856 $ 600 $ (464) $ 1,992


14. CONTINGENT LIABILITIES

TheCollegeandtheAlbertaCollegeofArtandDesignFacultyAssociationhaveenteredintodiscussionsregardingpaidvacationentitlementissuesandlegalobligationsassociatedwithsame.Itisprematuretoassessthelikelyoutcomeatthistimeandtheliabilityoftheseproceedingscannotbereasonablyestimatedatthistime.AdministrationhasconcludedthisclaimdoesnotmeetthecriteriaforbeingrecordedunderPSAS.

15. CONTRACTUAL OBLIGATIONS

TheCollegehascontractualobligationswhicharecommitmentsthatwillbecomeliabilitiesinthefuturewhenthetermsofthecontractsoragreementsaremet.Theestimatedaggregateamountpayablefortheunexpiredtermsofthesecontractualobligationsareasfollows:

Information Service systemsand Long-term contracts technology leases Total

2015 $ 548 $ 349 $ 32 $ 929

2016 444 270 32 746

2017 358 - 32 390

2018 - - 30 30

2019 - - - -

Thereafter - - - -

$ 1,350 $ 619 $ 126 $ 2,095

16. INVESTMENT INCOME 2014 2013

Incomeoninvestmentsheldforendowments $ 142 $ 126

Incomeonotherinvestments 113 119

255 245

Transferredtoendowments(note11) (30) (27)

Transferredtodeferredrevenue(note10) (112) (99)

Investmentincome $ 113 $ 119


17. EXPENSE BY OBJECT

Thefollowingisasummaryofexpensebyobject:

2014 2013 Budget (note20) Actual Actual

Employeesalariesandbenefits $ 14,493 $ 14,046 $ 14,038

Materials,suppliesandservices 3,180 3,897 3,959

Scholarshipsandbursaries 444 424 277

Maintenanceandrepairs 103 55 61

Utilities 1,269 1,080 1,181

Costofgoodssold 353 363 390

Amortizationoftangiblecapitalassets 722 700 1,211

$ 20,564 $ 20,565 $ 21,117

18. SALARY AND EMPLOYEE BENEFITS

UndertheauthorityoftheFiscal Management Act,thePresidentofTreasuryBoardandMinisterofFinancerequiresthedisclosureofcertainsalaryandemployeebenefitsinformation.

2014 2013 Base Other Other salary(1) cash non-cash benefits(2) benefits(3) Total Total

Governance (4)

MembersoftheBoardofGovernors $ 1 $ - $ - $ 1 $ -

Executive

PresidentandCEO 242 - 45 287 300

Vice-Presidents:

ProvostandVicePresident ResearchandAcademic 173 - 35 208 205

Vice-PresidentFinance andCorporateServices 143 20 13 176 177

Vice-PresidentEngagement 150 - 9 159 155

Vice-PresidentStudent ExperienceandAdmissions 120 - 24 144 153

(1)Basesalaryincludespensionablebasepay.

(2)Othercashbenefitsincludeearningssuchasvacationpayouts,bonuses,andcashpaymentsinlieuofpensioncontributions.

(3)Othernon-cashbenefitsincludetheCollege’sshareofallemployeebenefitsandcontributionsorpaymentsmadeonbehalfofemployeesincludingpension,grouplifeinsurance,employeefamilyassistanceprogram,criticalillness,supplementaryhealthcare,shortandlong-termdisabilityplans,dentalplan,accidentaldisability,anddismemberment.Benefitsforsomeoftheexecutivealsoincludevehicleallowanceandprofessionalmemberships.

(4)TheChairandMembersoftheBoardofGovernors,otherthanthestudentrepresentative,receivenoremunerationforparticipationontheBoard.


19. RELATED PARTY TRANSACTIONS AND BALANCES

Province of AlbertaTheCollegeoperatesundertheauthorityandstatutesoftheProvinceofAlberta.TransactionsandbalancesbetweentheCollegeandtheGovernmentofAlberta(GOA)aremeasuredattheexchangeamountandsummarizedbelow.

2014 2013

GrantsfromGovernmentofAlberta

InnovationandAdvancedEducation:

Operating:

Operatingbase $ 11,925 $ 12,644

Enrollmentgrowth - -

Highspeedinternet 6 6

Disability 107 107

Other - 1

Capital:

Capitalbase - -

Infrastructuremaintenance 356 274

Disabledstudents - -

Other 35 68

TotalInnovationandAdvancedEducation 12,429 13,100

Lessdeferredrevenue (52) (29)

Addrestrictedexpendedcapitalrecognizedasrevenue 567 853

$ 12,944 $ 13,924

Southern Alberta Institute of TechnologyThelandandbuildingswhichhousetheCollegeareownedbySAITandareoccupiedbytheCollegeunderafacilitylicensegrantedbytheMinisterofInnovationandAdvancedEducation.TheCollegeandSAITarepartiestoaletterofagreementfortheprovisionofutilities,maintenanceandsystemssupport.AmountspaidorpayabletoSAITin2014forthesepurposestotaled$1,755(2013:$1,886).

TheCollegereceivedgrantsof$365(2013:$274)fromtheprovincethataredesignatedforthemaintenanceandupgradeofthebuildingoccupiedbytheCollege.

AdditionaltransactionswithSAITincluded$13paid(2013:$9)relatingtomiscellaneousroomrentalsandinstructionalservices.Thesetransactionswereenteredintoonthesamebusinesstermsaswithnon-relatedpartiesandarerecordedatfairvalue.

Bow Valley CollegeTheCollegeandBowValleyCollegecollaborateinofferingArtstream,abasefundedprogramwhichprovidesacademicupgradingandfoundationartcoursestostudentsinpreparationforentryintotheCollege’sdegreeprograms.AccountsreceivedorreceivablefromBowValleyCollegein2014forthesepurposestotaled$85(2013:$46).Theseamounts


representthecostoftuitionandprocessingfees,plusfeesfortheCityofCalgaryUniversalTransitPass,SAITcampusaccess,StudentAssociationandstudentnetworkaccessonastudentbystudentbasis.

Southern Alberta Jubilee AuditoriumTheCollegeandtheSouthernAlbertaJubileeAuditoriumjointlymaintaincommonuseareasofthebuilding.TheCollegeandtheSouthernAlbertaJubileearepartiestoacostsharingagreementfortheprovisionofmaintenanceservicesforthesecommonuseareas.AmountsreceivablefromtheJubileein2014forthesepurposestotaled$6(2013:$7).

Advancing FuturesAdvancingFuturesisaGovernmentofAlbertapost-secondarybursaryprogramthatprovidesfundingandsupporttoyouthinachievingtheireducationalgoals.AdvancingFuturesisrelatedtotheCollegesincetheyarearelatedpartytotheMinisterofInnovationandAdvancedEducation.Amountsreceivedin2014were$13(2013:$16).

Alberta Association in Higher Education for Information TechnologyAAHEITisanAlbertanot-for-profitsocietyconsistingofaconsortiumofcolleges,universitiesandtechnicalinstitutesinAlberta.AAHEITisrelatedtotheCollegesincethemembersoftheconsortiumareallrelatedpartiestotheCollege.TheCollege,throughAAHEIT,collaborateswithothermemberinstitutionsregardinginformationandcommunicationstechnologyforeducationinAlberta.Amountspaidin2014forgroupprogramfeestotaled$1(2013:$4).

Alberta Post-Secondary Application SystemAPASisanAlbertanot-for-profitsocietyconsistingofaconsortiumofcolleges,universitiesandtechnicalinstitutesinAlberta.APASisrelatedtotheCollegesincethemembersofthesocietyareallrelatedpartiestotheCollege.APASoperatesApplyAlberta,asecureonlineapplicationsystemsimplifyingandspeedingtheapplicationprocessforstudentstoapplytomultipleAlbertapublicpost-secondaryinstitutions.Amountspaidin2014tosupporttheoperationofthesocietytotaled$12(2013:$11).

Alberta College of Art and Design Show Off ProgramACADoffershighschoolstudentstheopportunitytoshowcasetheirartworkinanannualjuriedexhibitionofthebestinartanddesigncreatedbyhighschoolstudentsinAlberta,TheNorthwestTerritoriesandNunavut.Highschoolsofawardedstudentsalsoreceiveawards.AlbertahighschoolsarerelatedtotheCollegesincetheyarearelatedpartytotheMinisterofInnovationandAdvancedEducation.Totalcombinedawardsin2014were$11(2013:$10)tothefollowinghighschools:CentralMemorial,LordBeaverbrook,Olds,Strathcona,St.Joseph,andVictoriaSchooloftheArts.

Campus Alberta Quality Council SecretariatCAQCisanarms-lengthqualityassuranceagencythatmakesrecommendationstotheMinisterofInnovationandAdvancedEducationonapplicationsfrompost-secondaryinstitutionswishingtooffernewdegreeprogramsinAlberta.CAQCisrelatedtotheCollegesincetheyarearelatedpartytotheMinisterofInnovationandAdvancedEducation.Amountspaidin2014relatingtothequalityreviewofnewprogramswere$1(2013:$8).Thesetransactionswereenteredintoonthesamebusinesstermsaswithnon-relatedpartiesandarerecordedatfairvalue.

dlee DesignsdleeDesignsisaprivatecompanywhollyownedbyDarleneLeewhoisanemployeeoftheCollege.Transactionswith


dleeDesignsin2014were$8(2013:$0)paidfortestingservicesonaresearchproject.Thesetransactionswereenteredintoonthesamebusinesstermsaswithnon-relatedpartiesandarerecordedatfairvalue.

Craig FahnerCraigFahnerisrelatedtotheCollegesinceheisanemployeeoftheCollege.TransactionswithCraigFahnerin2014were$13(2013:$0)paidrelatingtoservicesprovidedonaresearchproject.Thesetransactionswereenteredintoonthesamebusinesstermsaswithnon-relatedpartiesandarerecordedatfairvalue.

G H Studio Inc.GHStudioInc.isaprivatecompanyengagedintheretailandwholesaleofartglass,suppliesandequipment.GHStudioInc.isrelatedtotheCollegesincetheownerofGHStudioInc.isanemployeeoftheCollegewithauthorityandresponsibilitieswithinaCollegeprogram.TransactionswithGHStudioInc.included$9paid(2013:$26)relatingtothepurchaseofkilnpartsandtherefurbishmentoftwoglasscastingkilns.Thesetransactionswereenteredintoonthesamebusinesstermsaswithnon-relatedpartiesandarerecordedatfairvalue.

Diana SherlockDianaSherlockisrelatedtotheCollegesincesheisanemployeeoftheCollege.TransactionswithDianaSherlockin2014were$10(2013:$1)paidrelatingtocuratorialservicesprovided.Thesetransactionswereenteredintoonthesamebusinesstermsaswithnon-relatedpartiesandarerecordedatfairvalue.

20. BUDGET FIGURES

BudgetedfigureshavebeenprovidedforcomparisonpurposesandhavebeenderivedfromtheCollege’sComprehensiveInstitutionalPlanasapprovedbytheBoardofGovernorsonMay30,2013.

21. CHARITABLE FUNDRAISING

ThefollowingdisclosureispreparedinaccordancewiththeCharitable Fundraising ActandCharitable Fundraising Regulation oftheProvinceofAlberta.

NoremunerationwaspaidtoafundraisingbusinesstosolicitdonationsonbehalfoftheCollege.Totalnon-personnelexpensesincurredforthepurposeofsolicitingcontributionswas$93(2013:$50),andremunerationpaidtoemployeesoftheCollegein2014,whoseprincipaldutiesinvolvefundraisingwas$80(2013:$111).

Grosscontributionsreceivedin2014were$528(2013:$270).

Detailsofcharitablefundsappliedtoprojects:

2014 2013

Awards,bursaries,andscholarships $ 431 $ 185

Capital,planningandoperatinginitiatives 97 85

$ 528 $ 270

22. APPROVAL OF FINANCIAL STATEMENTS

ThefinancialstatementswereapprovedattheBoardofGovernorsmeetingonOctober29,2014.

Documents

Annual Report - Alberta University of the Arts€¦ · Melissa Kern 38. Lindsay Paul 39. Transforming the world – Our Alumni Educating Corrie – Corrie Hamm 40 Border Crossings