advancing the arts in LethbridgeJohn MacDonald Ph: 403.524.4440 email:johnmacdonald99@shaw.ca

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

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

A special thank-you goes out to Lethbridge’s creative community. Your dedication, talent and hard work truly enhance our city!

Bowman Arts Centre

Chinook Woodturning Guild

City of Lethbridge Parks Department

Culligan Water

Galt Museum & Archives

The Gate

Impact Sound

LA Gallery

Lethbridge Regional Police Service

Rotary Club Urban Spirits

Southern Alberta Art Gallery

University of Lethbridge Art Gallery

sdaysra tdaysThankYou

Gold Partners

Val and Flora MatteottiSilver Partners

Denis & Penny Beaudin

Bronze Partners Media PartnersStreatside EateryD.A. Building Systems

94.1 CJOCCKUACTV LethbridgeLethbridge Herald

Event Supporters

Thank you to the over 50 host venues; we appreciate you opening your doors for the arts!

Venues

Artists

Thank you to our dedicated volunteers.

Your contributions are truly appreciated and we couldn’t do it without you!

Volunteers

www.downtownlethbr idge.com

www.f inditdowntown.ca

www.ourdowntown.blogspot .com

Exper ience

discover

experiencecelebrate

Primary Event Partners

ARTSBRIDGE 1

The Sketchbook Project, an initiative of the

Art House Co-op in Brooklyn, New York,

engages artists from across the world. Each

participant signs up online and receives a

theme and blank sketchbook in the mail; the

artist is then free to sketch and create within

the book. Once completed, it is mailed back

to the co-op where it becomes part of a trav-

elling exhibition that makes its way across

the world. After the tour, all sketchbooks

enter into the permanent collection of the

Brooklyn Art Library, where they are barcoded

and available for the public to view. Anyone

- from anywhere in the world - can be a part

of the project. Technology (the internet)

plays an integral role in the success of the

Sketchbook Project. It brings artists together

while encouraging the creative process.

Technology has become ingrained in our

lives; many, if not most of us depend on it

for communication, learning and entertain-

ment. Technology has also entered the art

world- from digitally projected art to inter-

active online performances; online artistic

communities to collaborative digital music.

Technology has become an important part of

life, and thus art.

One needn’t look far to discover examples

of digital technology - the Southern Alberta

Art Gallery’s fall exhibitions, using the new

technology installed in the 2010 renovation

and expansion examine how contemporary

artists incorporate technologies, new and

old, into their practices (pg 6). Many local

arts organizations, such as the Lethbridge

Symphony Orchestra, are using online tech-

nology to reach new audiences (pg 16). And

at a recent exhibition at the Bowman Arts cen-

tre, local artist Loralee Edwards investigated

the self-portrait and how digital technology

has impacted this artistic tradition (pg 11).

Of course, we have always depended on

some kind of technology; whether it is film,

paper, floppy discs, ipads or GPS. The Galt

Museum and Archives are transitioning their

archives to keep them both accessible and

user friendly by using digital archives (pg

3). The Alberta Media Arts Alliance Society

(AMAAS), a province-wide organization cre-

ated to serve media artists and organizations

in Alberta, looks into the past and into the

future as it celebrates is twentieth birthday

this year (pg 14). And the City of Lethbridge’s

newest piece of public art, Catherine Ross’ &

Denton Frederickson’s “Aeolian Aviary”, was

recently unveiled at the Southern Alberta

Art Gallery incorporating many technical

elements (pg 7).

Marshall McLuhan once stated “Art at its

most significant is a distant early warning

system that can always be relied on to tell

the old culture what is beginning to happen

to it.” There is a great deal of truth to this

statement. The challenge for artists is to

find a balance between technology and the

creative process. The ability to view “Carmen”

at the local theatre is a wonderful thing but

we must always ensure that we don’t replace

the extraordinary experience of the live

performance.

Suzanne Lint

Executive Director

director’smessage

Fall

/W

inte

r 20

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

Publication date October 2011

Administration

Suzanne LintExecutive Director

Jana MacKenzieOffice Services & Finance

Ashley MarkusCommunications

Vanessa Eagle BearReception

Programming

Claire HattonEducation & Facility Services

Darcy LoganGallery Services

Board of Directors

PRESIDENTGloria Torrance

VICE PRESIDENTElizabeth Songer

SECRETARYDavid Renter

TREASURERShanna Bailey

DIRECTORSChristopher BabitsRon BrownSarah ChristensenCarolla ChristieBarb CunninghamTyler GschaidJennifer Schmidt RempelKim Siever

For additional copies contact the AAC office.

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

a substantial inven-

tory of work that, for a

variety of reasons, will

likely remain so for

some time. Let’s just

refer to it as Van Gogh

Syndrome, though

few if any will ever

gain that artist’s post-

humous fame.

It can be said with-

out reservation that

most visual artists

(at least the ones I

know) certainly don’t

make art for financial

gain. Thus, it could be

said that the issue of

whether a communi-

ty supports its artists

or not is moot. That

would be approach-

ing the whole matter

from a completely

wrong perspective.

Let’s, instead, view it

from the community

point of view. In some

ambiguous way there

is a symbiotic rela-

tionship that exists

between visual artists

(and probably other

bo

ard

blo

gWhen I was about 14 I had the opportunity to travel

to Russia as part of a school trip. One of my most

memorable experiences from that trip was visiting

The Hermitage in St. Petersburg. It was there that I

first encountered Renoir’s Child with a Whip. I cannot

tell you why this painting struck me as it did, but the

image has stuck with me since. When I got back home

I sought images of that painting out for years after–

usually looking for it in books at the library.

Now I can Google it.

Technology and the arts. Working together and yet

sometimes at odds.

Technology allows us to do so many things in and

with the arts. Share, learn, access, and break new

ground.

In this day and age we can find and share works easily.

At any time of the day, by simply tapping a few key

words into that most magical of search engines, any

work of art, in any medium, can appear instantly

before your eyes. Paintings, music, poetry, novels,

plays, sculptures, architecture, clothing, you name it.

Usually, along with the particular work you’re

searching for also appears a boundless amount of

information. When it was produced, by who, where,

what it means, how it was inspired, how it has been

interpreted throughout the ages, along with how

and if it can be purchased or downloaded and made

your very own.

Technology has made the arts accessible to anyone

and everyone, which is a good thing. We should all

have unlimited access to experience and explore the

arts.

Technology also allows artists the opportunity to

create in new ways–writing, drawing, designing,

building their creations on an endless digital

landscape, using technology that is being developed

as quickly as they can create their next masterpiece.

Technology and art working together in itself is an

endless work of art. The mind cannot comprehend

what the two might achieve when working together.

When at one time viewing “Child with a Whip”

was limited to my visit to The Hermitage, and the

local library, today I can recall that image and any

information associated with it in a few seconds.

I can also right click on that image, save a copy of it to

my computer, and reprint it. I could make and keep

a reproduction of that image framed on my wall if I

wanted to, never having to visit the original again.

This is where I find technology and the arts at

odds. Certainly, there is the convenience of finding

that elusive piece you’ve been searching for, and

certainly there is the ease of making a reproduction

of your own. Technology makes that very easy.

With the right technology you could even create a

reproduction that may almost be indistinguishable

from the original.

I’ve found in my line of work, that it is all too easy for

someone to cut and paste the content that one of my

writers has so carefully crafted, to right click and save

an image one of my photographers or illustrators has

spent hours composing and creating, or even taking

a screen shot of one of our layouts to print up and

save for themselves for use as promotional materials.

This is where technology fails the arts, in that it makes

it far too easy for people to steal and reproduce the

things that artists have worked so hard to create.

I think it’s important for all of us to remember, the

next time we decide to download an artist’s work in

any form, that it’s through their art that they make

their living.

Let’s keep the arts and technology working

together.

Now go Google “Child with a Whip”–you know you

want to. AB

scrollBy Jenn Schmidt-Rempel, Allied Arts Council Board Member and Managing Editor- Lethbridge Living Magazine

Working Together and Yet Sometimes at Odds

2 ARTSBRIDGE

ARTSBRIDGE 3

Photographs are easily the

most popular resource at the

Galt Archives. People and

organizations routinely use them

for various means – compiling

family histories, printing large-

scale vintage images you see

in local restaurants and malls,

compiling illustrations for

books, promotional materials,

anniversary publications,

calendars, etc.

By Andrew Chernevych, ArchivistGalt Museum & Archives

Archives at Your FingertipsAndrew Chernevych is the new Archivist at the Galt Museum and Archives. He started in June of 2011, taking over from retiring veteran archivist Greg Ellis. Andrew moved from Edmonton where he used to work for the Provincial Archives of Alberta and the City of Wetaskiwin Archives.

Archives are accessible as never before and it just keeps

getting better! In recent decades, archives have come a

long way from being a secluded – almost esoteric – place

patronized mainly by scholars to today’s mainstream

institutions offering full public service similar to a local

library. The Galt Archives, located at the lower level of

the Galt Museum, provides clients with a research room,

reference materials, finding aids, online access, and research

guidance from the well-versed staff.

Compared to a local library, which offers access to mass-

produced materials like books, archives hold different types

of resources: one-of-a-kind records found nowhere else.

Among these, personal papers, such as letters and diaries,

oral histories, historic photographs and much more. At the

Galt, these include not only materials from individuals but

also records from community organizations (eg. Rotary

Club), local businesses and municipalities from Lethbridge

and southwestern Alberta.

4 ARTSBRIDGE

It does not require specialized knowledge or research experience to find relevant information.

Just like that commercial by Ancestry.ca: “You don’t even have to know what you’re looking

for, you just have to start looking” (Ancestry.ca actually get their resources from archives, just

a side note). Photographs are easily the most popular resource at the Galt Archives. People

and organizations routinely use them for various means – compiling family histories, printing

large-scale vintage images you see in local restaurants and malls, compiling illustrations for

books, promotional materials, anniversary publications, calendars, etc.

How can you find images relevant to your family or organization? It’s easy – you don’t have to

leave your computer (or tablet): all the previews along with descriptions are available online

and, yes, searchable by keyword! So finding interesting and relevant images from, say, the

1950s is just a few clicks away at galtmuseum.com/archives. When you find the images, you

can order them online (be sure to refer to the Fee Schedule) as digital files, or prints up to

11’’x17’’. This is not much different from your online shopping experience.

To make it this easy did not come easy. It took years of dedicated work on the part of the

archives staff and volunteers. The Galt Archives runs a digitization program established by

the recently retired archivist Greg Ellis. Years ago, he realized the importance of online access

and with the help of volunteers scanned a massive amount of photographic prints and

negatives to be searchable on the Internet. Today the online database of the Galt Archives

contains more than 70,000 images from 1890s to 2000s and more are added every month.

Collections of note include The Lethbridge Herald, de Jourdan’s Studio, A.L.H. Somerville,

William Fruet, Terry Bland Photography and A.E. Cross Studio. Only few archives in Canada

have their visual records digitized to the same extent!

Besides photographs, you can also use the online database to browse descriptions of

textual records – manuscripts, minutes and reports of local organizations, scrapbooks, maps,

inventory of residential buildings and more. To review these materials in detail though, you

do have to leave your chair and visit us at the Galt Museum – we’d be happy to help you! AB

The Commons on FlickrThe Galt Museum & Archives is also

contributing to The Commons on

Flickr, an international storehouse of

archival photos, as part of its ongo-

ing mission to engage and educate

its communities in the human

history of southwestern Alberta.

The objectives of The Commons are

two-fold: to increase access to pub-

licly-held photography collections,

and to provide a way for the general

public to contribute information and

knowledge.

The Galt was the 28th international,

and the second Canadian institu-

tion to sign on. The photos it has

contributed come from the Archives’

holdings and there are no known as-

sociated copyright restrictions. Since

October 1, 2009, when the Galt’s im-

ages first went live, they have been

viewed over 578,000 times.

Today the online

database of the Galt

Archives contains more

than 70,000 images from

1890s to 2000s and more

are added every month.

ARTSBRIDGE 5

Besides

photographs, you

can also use the

online database

to browse

descriptions of

textual records

– manuscripts,

minutes and

reports of local

organizations,

scrapbooks,

maps, inventory

of residential

buildings and

more.

6 ARTSBRIDGE

Technology and Art have been bedfellows for a very long time. Whether the historical introduction of new paints, canvas and carving tools or the paradigm-shifting inventions of photography, film and the Internet, artists are both innovators (readily generating new materials and techniques) and early adopters (quickly incorporating and adapting technology from other fields into their practice). As primary venues for engagement with art, galleries and museums are necessarily invested in technology and continually strive to meet the needs of those artists working with the latest innovations. The Southern Alberta Art Gallery is no exception and a major component of the recent renovation was to update and enhance our technical capacities.

Many of the improvements at SAAG are all but invisible to our visitors. Upgrades to our mechanical systems (heating, ventilation, air conditioning, humidity) have been realized allowing us to maintain more suitable conditions for artworks that can be damaged in environments with fluctuating temperature and humidity. Moreover, the improved airflow and quality offers a more inviting and comfortable atmosphere for gallery goers. Also behind-the-scenes, Category 6 cable is extensively networked throughout the building improving Internet accessibility and audio experiences that are increasingly used as much in the exhibition spaces and classrooms as in our offices.

Few people look up in a gallery, however at SAAG that is where much of the action took place with major upgrades in lighting and audio-visual equipment. The former lighting setup, more than 30 years old, was replaced with a commercial-grade system using energy efficient halogen lamps in spots, wall washers, and framing projectors. Amazingly, this new system is the first time the gallery has ever had the capacity to dim the lights, let alone control them with a state-of-the-art digital panel able to store multiple lighting schemes. With the means to produce a more nuanced and diverse range of lighting effects, the gallery is far more accommodating to artist expectations and can even offer approaches they may not have considered.

The new audio-visual equipment is perhaps the most significant improvement SAAG has undergone with regards to technological advancements. While more traditional mediums such as painting and sculpture continue to be avidly explored, we also need to support those artists looking to digital media to produce works from multi-channel videos to multidisciplinary installations. SAAG, in a sponsorship arrangement with Christie Digital Systems, was able to procure three high-definition projectors of a caliber seen in only the largest international museums and galleries. Unlike most projectors designed for home or office use, these new projectors are extremely adaptable, high resolution and can

By Ryan Doherty, Curator- Southern Alberta Art GallerySupporting Innovation

The Southern Alberta Art Gallery

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work outside of a ‘black box’ environment. The result – SAAG can now exhibit the work of artists that would otherwise have little choice but to decline. As a recent example, the gallery presented Kelly Richardson’s world premiere of the triple channel video installation The Erudition. A rising star working from the UK, Richardson’s work is shown internationally in venues such as the Smithsonian’s Hirshhorn Museum or the Baltic Centre for Contemporary Art, and now, thanks to our technical advancements, the Southern Alberta Art Gallery.

Even the most spectacular looking video can be ruined if its audio elements have been ignored. With more than 35 top-end speakers mapped throughout the galleries, library, classroom and gathering spaces, SAAG now has a powerful audio system that can be confined to one zone or opened up to the entire building. Together with an assortment of free-standing speakers, solid-state media players, and wireless audio systems, the gallery is well-placed to execute the increasingly complex installations that come along with new technologies.

This fall the Southern Alberta Art Gallery is putting all these new technological improvements to the test with the exhibition Emotional Blackmail. At the same time, the unveiling of Lethbridge’s newest public artwork Aeolian Aviary will demonstrate how Denton Fredrickson, Catherine Ross and many other contemporary artists are incorporating technologies, new and old, into their practices. Emotional Blackmail is an international group exhibition investigating the growing number of artists that are abandoning irony (a powerful strategy in contemporary art of the ‘90s in particular) and embracing sincerity to elicit emotional responses. Many of the works require monitors or projectors, including Benny Nemerofsky-Ramsay and Aleesa Cohene’s installation The Same Problem, a high-definition video that will make use of the 5.1 surround sound audio capabilities of our new Multipurpose Gallery. Other videos by Meiro Koizumi and Tova Mozard will both be projected in the main gallery under normal lighting conditions. In the past, these would have required small rooms built to create a light-tight environment such that picture quality would not be compromised. Moreover, with top-end Sennheiser Wireless headphones, the two works can coexist without the distraction of their audiotracks bleeding into one another.

For Aeolian Aviary, Denton Fredrickson and Catherine Ross have created a public artwork that fuses acoustic, environmental, sculptural and community issues. Animating a range of gestures between rest and flight, a flock of hand-cast bronze birds appears to move seamlessly between exterior and interior spaces. Several lengths of music wire suggestive of flight paths offer an acoustic accompaniment activated by the shifting wind and light of the region. The technical equipment and knowledge required to realize this artwork are significant: an anemometer (a device to measure wind speed), custom computer programming, an acoustically designed sound board, knowledge of bronze casting, and the aid of a host of engineers, city workers, architects and acousticians.

With the success of the renovation, the Southern Alberta Art Gallery is presently able to meet and exceed the technological needs of most artists working today. However, the gallery is acutely aware that innovations in technology are accelerating and if we want to remain at the forefront of institutions in Canada, we’ll need to pay close attention to new developments, be strategic about future purchases (that can often be obsolete before you take them out of the box), and moreover, develop a plan for equipment that is tempting to discard. One never knows when an artist will request a 16mm projector or an old VHS player. As daunting as the task may seem, SAAG’s mandate has always been to foster that which challenges the boundaries of a discourse, and technology is no exception. AB

ARTSBRIDGE 7

With the success of the

renovation, the Southern

Alberta Art Gallery is presently

able to meet and exceed the

technological needs of most

artists working today.

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Osvaldo Ramires Castillo, Collapse I, 2011, Animation film 33 seconds Photo by David M. C. Miller and Petra Mala Miller

8 ARTSBRIDGE

By Marco Adria, Professor of Communications, University of Alberta

and the Alberta Connection McLuhan Marshall

Terry Wickham, producer of the renowned Edmonton Folk Music Festival,

calls him “the greatest Albertan ever.” Throughout 2011, Albertans

celebrate the birth of the influential scholar and public figure born in

Edmonton, Alberta, on July 21, 1911.

McLuhan was a professor of English, but his analysis of television and other

media changed how many people thought about how we communicate with

one another. Marshall McLuhan’s ideas have become part of our language.

He coined the phrase The medium is the message and the term global village.

Through his books, lectures, and appearances on television and radio, he helped

many people realize that technology changes how we experience the world. The

media we use to acquire information, entertain ourselves or communicate have

as much impact on us as the specific content and messages does.

Who is Marshall McLuhan?

ARTSBRIDGE 9

The first house in which Marshall McLuhan lived still stands in the Highlands neighbourhood of Edmonton.

Marshall McLuhan’s ideas first became current more than fifty years ago, yet he foresaw

the potential explosion of electronic media that has occurred in the last decade. We

now interact with our environment routinely using everything from GPS devices on

dashboards to iPhone apps, and from Wikipedia to Second Life avatars. Digital media

has created planetary linkages previously unimaginable – McLuhan’s global village in

overdrive. It has also created the intense tribalism he foresaw, like-minded groups gather

in electronic pockets.

McLuhan argued that we tend to misunderstand, ignore or fail to see change (particularly

change following from the use of a new technology) as it happens. He described our use

of technology as “extensions” of our human senses. We use these extensions to experience

the world more intensely. We therefore become simultaneously more separated from

the world, paradoxically resulting in a feeling of “numbness”. While technology is deeply

embedded in our culture, we are often only vaguely aware of the implications of our

relationship to it.

McLuhan spent his early childhood in Edmonton and often referred to the impact of this

period on his understanding of landscape, perspective, and patterns of communication.

The University of Alberta awarded him an honorary Doctor of Laws in 1971.

The Centenary is being recognized in countries around the world, with Alberta having

the distinction of being the birthplace of the celebrated media theorist. The University of

Alberta is the site of many of the Centenary events, but if you are out and about this fall

you may come across the McLuhan Television Wall, which was launched at the Edmonton

International Airport, Domestic Departures Lounge. It’s on display until November 2011.

Also, Wave, an art and media installation, is on display until October 2011 at Enterprise

Square, University of Alberta campus. Wave invites participants to experience and reflect

upon the themes of the McLuhan Centenary by responding to images, text, and sound

inspired by Marshall McLuhan’s ideas ( www.waveart.ca). Wave will be moved for display

at the Edmonton International Airport beginning in November 2011.

Marshall McLuhan was born in Edmonton, raised in Winnipeg, and educated at Cambridge

University in England. He taught at the University of Toronto until his death on New Year’s

Eve, 1980. You can find out more, including the story of Marshall McLuhan’s life and work

and a map showing McLuhan centenary celebrations occurring around the world, by

visiting www.mact.ca and clicking on McLuhan Centenary 2011. AB

McLuhan argued that we tend to misunderstand, ignore or fail to see change (particularly change following from the use of a new technology) as it happens.

The media we use to acquire information, entertain ourselves or communicate have as much impact on us as the specific content and messages does.

Marshall McLuhan’s ideas first became current more than fifty years ago, yet he foresaw the potential explosion of electronic media that has occurred in the last decade.

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10 ARTSBRIDGE

By D

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There exists the criticism and perception

that ‘New Media’; art in which technology

is foundational, is somehow distant from

us. Some argue that it removes the hand of

the artist from the creative equation, and

can thereby alienate an audience. Loralee

Edwards’ exhibition “iGallery: Curated

Auto-paparazzi”, which was displayed at

the Bowman Arts Centre during the early

summer of 2011, was a testament to the

contrary. Not only was it personal, and

interactive, but it was an exploration of

timely technological questions.

As societies shift and change under the pressure of evolving technologies, visual artists are

often found investigating ways in which their artistic practices can be informed, in a positive

way, by these technological changes. Sometimes New Media can transform the ways in which

art is produced, and sometimes it can reflect the context and conceptual concerns of the artist.

Sometimes both the means of production and the message of the artist can be about the

intersection between technology and visual culture. This was the case with Loralee Edwards’

exhibition “iGallery”.

Edwards, who holds both a Bachelors of Fine Arts and Masters in Art from the University of

Lethbridge, has a unique artistic practice. Her work is experimental, and is a method to analyse

and understand how social roles are constructed. With her “iGallery” exhibition, she wanted to

look at social media, in particular Facebook, and the willingness of individuals to self-disclose

on these sites. She did so by incorporating New Media, not in a way that was removed and

distant, but in a way that invited the active participation of the audience.

Edwards used a series of photographic self-portraits as the conceptual spring-board for her

exhibition. Over many months she had been posting these images on Facebook. The photos

consisted of close-ups of various body parts taken during the intensely personal activity of

bathing in the tub, in the private space of her bathroom. For the exhibition, her photographs

were displayed on the wall, but the unique and interactive component of the exhibition was

a faux bathroom constructed within the gallery space, complete with decorations, clothing,

record player, records, magazines and a clawfoot tub.

This space within a space was a recreation of a private space from her home. The gallery

audiences were, over the course of the exhibition, invited to explore the contents of this ‘room’,

try on articles of clothing, and ultimately immerse themselves in Edwards’ self-portraiture

process. Attached to the clawfoot tub was an iPhone, with which people could photograph

themselves or others. The resultant images were uploaded to Facebook, and could be viewed

remotely by anyone with an internet connection. Just as Edwards’ made ‘private’ images

become ‘public’ within the gallery, so did exhibition visitors consent to extend this idea by

allowing their photos to become part of a virtual exhibition, hosted online.

Historically, there have always been intersections between evolving technologies and the

visual arts. Whether this is the use of the lens to lend a greater naturalism to Renaissance

paintings, the development of etching to allow mass-production of images, or the ascendancy

of photography, moving pictures and the internet, new media are a reflection of the time and

place that created them. If we, as cultural consumers, remain open we may see a mirror held

up our culture, as in the case of Loralee Edwards’ work, that gives us the unique opportunity to

stop, and reflect. AB

ARTSBRIDGE 11

iGallery: Curated Auto-paparazzi

12 ARTSBRIDGE

How long has the new Community Arts Centre been in the works?

The Allied Arts Council and the larger arts community have advocated for an expansion

of community arts space for the last twenty years. This goal was realized in 2007 when an

expansion project for the Bowman Arts Centre was added to the City of Lethbridge Capital

Improvement Plan.

The Community Arts Centre is part of a larger vision for the arts in Lethbridge- the Arts Re:

Building Together initiative is a collaborative effort started in 2007 between the Allied Arts

Council and the arts community which addresses concerns with civic arts facilities. Many

of these facilities present challenges: they were built when the population was smaller, or

weren’t originally designed as art spaces.

Why can’t the Bowman Arts Centre be expanded and what will happen to the building

after the Community Arts Centre opens?

The Bowman was evaluated and considered, but due to structural limitations and cost, it was

determined it was not suitable for expansion. The Bowman is a City-owned historic building

and will likely be re-purposed after the CAC opens.

Where is the new Community Arts Centre going to be located?

The site of the facility will be on the corner of 8 St and 3 Ave S; better known as the old IGA

site. It will take up approximately half of the lot, occupying the east side. A future Performing

Arts Theatre will hopefully one day occupy the west side of the lot.

Why was this site chosen?

This site was chosen by the City of Lethbridge. We feel it was chosen because of its ideal

location; being situated in the heart of downtown, adjacent to the recently renovated

Southern Alberta Art Gallery and a future Performing Arts Centre. The new Community Arts

Centre will be part of a growing and vibrant “Cultural Corridor” downtown. The cost savings

of purchasing one site rather than multiple sites is also another consideration.

How have the arts community and the general public

been consulted & involved with the planning and design

for this facility?

In 2008, architects consulted with the arts community to develop an

initial facility plan.

Shortly after the Community Arts Centre was announced, a public

call out was made for three community representatives to serve on

the Community Arts Centre Steering Committee.

The architects met with arts groups to determine user needs and

develop a design.

The AAC has surveyed the following groups to develop an operating

model:

• AAC arts membership (over 200 artists and arts groups)

• University of Lethbridge Fine Arts students & faculty

• A general call was put out through the AAC website.

What types of arts spaces will be in the new facility?

Exhibition Gallery and Prep Space

2D and 3D Classrooms and Studios

Kiln Room, 3D Tech Room and Woodworking Workshop

Textile Studio

Dance Studio

Music Theatre and Music Rehearsal Studio

Dressing Rooms

Meeting Rooms

Administration Space

Multipurpose Rehearsal Space

University of Lethbridge Conservatory Music Classroom

University of Lethbridge Conservatory Music Practice Rooms

What is the difference between the Community Arts Centre and

the Performing Arts Theatre?

The Performing Arts Theatre would be a separate building that

would be specifically dedicated to the performing arts. Although

the Community Arts Centre will have some space available for

performing arts, it is not intended as a theatre or performance hall.

A new Performing Arts Theatre would address issues with The Yates

Theatre- which is no longer able to fully accommodate Lethbridge’s

performing arts community. Further research on funding and

operations is currently taking place to identify the next steps for this

facility.

How is the new Community Arts Centre being paid for?

The funding sources towards this project are:

• City of Lethbridge: $200,000

• Municipal Sustainability Initiative (MSI) Grant: $14,490,000

• Build Canada Fund (BCF) Grant: $6,000,000

The Total Project Budget for the Community Arts Centre is

$20,690,000

Therefore, the City of Lethbridge is paying less than 1% for this facility.

What is the timeline for the building of the facility?

The Schedule for the Community Arts Centre is as follows:

• Design: May 2010 - January 2011

• Tender: February 2011

• Construction: March 2011 – January 2013

Lethbridge’s New Community Arts Centre

QA&

ARTSBRIDGE 13

Main Floor

Upper Floor

14 ARTSBRIDGE

By Kelaine Devine, AMAAS Vice-President and Lethbridge media artist

AMAASAlberta Media Arts Alliance Society

The Alberta Media Arts Alliance Society (AMAAS) is a provincial umbrella organization

that exists to promote, support, educate and advocate for Alberta media arts.

Currently, as we do not have a dedicated media arts organization within Lethbridge, local media artists can

join independently and reap the benefits of being connected to a much wider provincial and occasionally

national and international community.

For twenty years, AMAAS has been working with and for media artists throughout the province.

Amongst the initiatives, is the yearly conference or symposium. This past June, Media Artists from across

the province, including Lethbridge, met to celebrate AMAAS’ 20th Anniversary. This networking event

discussed issues in media arts preservation, the future of media arts in Alberta and forged important

relationships between artists and member centres. Next year in June, AMAAS will be working with IMAA

(our national sister organization) to host a day-long symposium within their conference in Banff.

Annually, at our conference or symposium, AMAAS rewards a member of our community with The Spirit

of Helen Award. Established in 2005, this award is given in honour of Helen Folkmann, an artist and arts

advocate whose creativity, activist spirit, strength and determination inspired colleagues and friends across

Canada. An influential and longstanding member of AMAAS, Helen Folkmann passed away September

24, 2004. Media artists and organizations can acknowledge a multi-disciplinary artist, cultural worker or

advocate whose contributions to Alberta’s media arts community reflects the spirit of Helen Folkmann by

nominating them for this award of $1500. Nominations are gathered in the spring.

One of AMAAS’ most renowned initiatives is Prairie Tales. This traveling showcase is a feature length

overview of the best independent media shorts created in Alberta. Submitted works range the gamut

from animation, experimental, film, video and narrative works. The program is widely screened around the

province, as well as nationally and soon to be shown internationally. Open to all Alberta artists, the call

for submissions usually goes out in autumn with the submission end date in January/February. AMAAS is

proud to pay artist fees to all the selected filmmakers.

AMAAS’ newest initiative is our partnership with the EPCOR CENTRE for the Performing Arts in Calgary

to create GAMA – The Gallery of Alberta Media Art. This gallery showcases up to 24 artists annually on a

dedicated television monitor in the +15 located near CKUA. Custom designed bicycle seat benches are

available for viewers. The gallery is also frequently shown on other monitors throughout the centre. Artist

fees are paid and submission calls happen throughout the year. It is AMAAS’ hope to expand this program

throughout the province and is actively seeking partnerships to make this a reality.

Members of AMAAS range from production centres, media art programmers, film festivals, artist run centres

and individual artists from around the province. Our individual members are diverse as the definition of

‘media art’ is so broad. Our definition includes, “Independent, artist-initiated and controlled use of film,

video, new media, audio art and related media.” This breadth of disciplines allows for dynamic, synergistic

partnerships between artists and media arts centres. We always welcome new members. Students and

emerging artists are especially encouraged to join.

If you are interested in learning more, becoming a member, submitting work to Prairie Tales and/or GAMA

or nominating someone for the Spirit of Helen Award, check out the AMAAS website at www.amaas.ca or

visit our facebook page. AB

Alberta Media Arts Alliance Society

For twenty years, AMAAS has been working with and for media artists throughout the province.

Media Art is a highly contested

term throughout the arts world.

How does one define something

that is constantly changing

with the emergence of new

technology and practices? This

genre of artistic endeavour is

generally process dependent on

technology with a time-based

component. A critical art practice

that embraces both technological

history and the cutting edge,

media art works can be either

analog or digital and in some

case both. Pushing boundaries,

this area of practice can embrace

video, film, digital art, audio,

computer graphics, animation,

internet, robotics, electronics,

biotech and beyond.

Because of the scope of this

genre and its inclusive nature,

AMAAS defines Media Art as

“Independent, artist initiated

and controlled use of film,

video, new media, audio art and

related media.”

ARTSBRIDGE 15

16 ARTSBRIDGE

I have attended a number of conferences during the past few years and some of the most popular sessions have been on the subject of social media (eg. Facebook, Twitter, YouTube, etc). What is it? Should we be a part of it? How much time should be we be investing in it? Is it even going to be around in 2 years? The Lethbridge Symphony Orchestra has been asking these questions as well and, in conversation with the AAC, has been asked to share with the arts community some thoughts about what we have learned about social media.

We are not experts in social media, nor do we claim to know everything about social media. What we do know is where to obtain appropriate resources to help us on this adventure in connecting with our patrons online. The conferences and sessions I attended also echoed these statements - because social media is changing very rapidly there is no one quick and easy method to social media.

Instead, what is taught at conferences and sessions is that social media should be developed and used within all organizations to engage your patrons, engage your community, and allow that community to be developed. It is the community that supports your events and functions. These are all individuals who have invested in your organization and feel connected to what you are doing. And these individuals form your community of patrons.

And while we should all be participating in social media, we are also realistic. We can’t be spending hours upon hours every day updating posts and comments, but we can be engaging with our community and spending a few minutes each day to improve our connections. Experts have expressed that social media should be a part of your marketing strategy. However social media should not replace your entire marketing strategy - it is merely one piece of it.

Your social media strategy doesn’t have to be time consuming or costly. Even if you commit five minutes a day to update your status, comment on your ‘fans’ comments, and engage your community, you will see growth in a very short amount of time. There are different schools of thought about how strategic your social media efforts should be - some experts believe you should have a plan similar to your usual marketing plan (ie: a timeline of when and what messages will be posted). Others believe social media works best when spontaneous. In either case, be sure you have a clear message.

For smaller organizations who may not have a marketing plan, it is certainly wise to appoint one person to maintain a social media presence. But again, be sure whoever is maintaining your site is in line with your organization’s mission and messages.

And if you are struggling for content, use other sources, but be sure to reference the sources. The Lethbridge Symphony likes to post information from Orchestras Canada and other orchestras. By linking up with other organizations, we are also letting their ‘fans’ see our posts. We are creating our own community of organizations that support what we do.

The Lethbridge Symphony Orchestra has started to use some of these ideas for our Facebook page - we have a Twitter page that is directly linked to our Facebook, but have not yet delved into the fascinating world of Twitter (by connecting the two accounts, we only have to update once). We started posting event listings for concerts, but we would use the status updates to post interesting facts about the upcoming pieces we are performing. I fondly remember when we posted a Muppets version of Beethoven’s 9th Symphony - we were flooded with comments and ‘likes’. It was a great way to engage our community about our upcoming concert without hitting them over the head with our event details.

We have also utilized Facebook in promoting contests and have experienced an increase in our ‘fans’ as a result. For an organization our size, we are quite pleased with our reach into the realm of Facebook.

There are plenty of resources available to teach you about social media and its intricacies. The Lethbridge Symphony uses Social Media Examiner, Mashable, and Marketing Profs (all of which are available online) on a regular basis. I encourage you to check out the Facebook pages of the Allied Arts Council, Galt Museum and New West Theatre - these organizations have very dynamic pages!

As social media constantly evolves, I research successful practices and incorporate these strategies into the Lethbridge Symphony marketing plan. We have seen great returns with the relatively small amount of work we have dedicated to the Facebook page and we hope to see more arts organizations from

Lethbridge join the social media world.

In ActionSocial Media

W h a t i s i t ? S h o u l d w e b e a p a r t o f i t ? H o w m u c h t i m e s h o u l d b e w e b e i n v e s t i n g i n i t ?

Your social media strategy doesn’t have to be time consuming or costly.

By Dawn Leite, General Manager, Lethbridge Symphony Orchestra

AB

Martin Oordt was a big hearted,

genuine, warm and smiling man

who left an impression on everyone

he met - an impression made all the

more powerful and poignant since

he passed away on April 8, 2011. As

an avid supporter of the Lethbridge

Symphony Orchestra, the owner/

editor/publisher of Lethbridge

living magazine, University of

Lethbridge literary magazine

Whetstone, the Meliorist and much

more, Marty was a cherished and

active member of Lethbridge’s arts

& culture community.

Marty was the type of teacher every student wished they had — one who

helped you think for yourself, form your own opinions, think anything

was possible and would help you get there by any way he could. The

sky was never the limit; you could always fly higher and should always

aspire to do so. His enthusiasm for language was infectious. His love for

the written word was contagious, and while he could be brutally honest,

there was always love in his heart. Above all he was one of my favourite

professors who made a huge impact on my life and career. Thanks to his

guidance, I pursued my goal of becoming a journalist.

And he always remembered. When I moved back to Lethbridge, more

than 10 years after graduating and last seeing him, I ran into Marty at,

of all places, the recycling centre. We spoke easily, like old friends, and

the preceding years vanished just like that. He was just as excited as

I remember, called me by name, asked what I’d been doing, asked me

about L.A. Beat, which I’d just started. I was touched he remembered me

out of the countless students he affected over the course of his career.

But he was most excited when talking about the symphony. He

encouraged me to write about them. I told him I didn’t know a lot about

symphonies or classical music. But he said to give it a try anyway. The last

time I talked to him was an interview in January 2011 for an interview

about The Lethbridge Symphony’s “Love Notes” fundraiser combining

two of Marty’s many passions — art and music.

I remember his enthusiasm and youthfulness which belied his age.

He was almost vibrating with excitement, his brain working on about

six different levels as he always did when speaking about one of his

passions. Marty Oordt, you will be always missed, always remembered

fondly and always loved. AB

In Memoriam:

By Richard Amery; editor and creator of labeat.ca- an online magazine devoted to Lethbridge’s arts & entertainment scene.

ARTSBRIDGE 17

Martin Oordt

Art was born and raised in Lethbridge.

He was a proud ‘North-sider’ and

loved his community and his city

immensely. He was a graduate of

Lethbridge College, the University

of Lethbridge and the University of

British Columbia. He was recipient

of the Alpha Rho Chi Medal with the

American Institute of Architects and

the Alberta Centennial Medal. Art

began work as a Graduate Architect

with Ferrari Westwood Babits’

predecessor firm of Watson Horton

Architects in 1982. He remained as a

Senior Architect at the firm, the oldest continuing architectural practice in

Alberta, becoming a partner in 1990.

As an architect, Art was proud of his vocation and very involved in helping

to maintain the self-governed profession to the highest ethical standard.

He served as a Councillor for the Alberta Association of Architects and as

President of the association from 2005 to 2006. He was also made a fellow of

the Royal Architectural Institute of Canada. Art’s community involvement

included the Board of Directors of St. Michaels Hospital, serving on the

Senate and Board of Governors for the University of Lethbridge, and

President of the University of Lethbridge Alumni Association. Art was

inducted into the U of L Alumni Association Honour Society and received

the Distinguished Alumnus award from Lethbridge College in 2007. Most

recently, Art served on the Lethbridge College Alumni Advisory Council.

Art contributed a great deal to the architecture of Lethbridge. He was

honoured to have been involved with many key civic and institutional

projects in Lethbridge, including City Hall, Police Headquarters, No. 1 Fire

Hall, St. Martha’s Church and numerous schools in Southern Alberta.

He was also an avid supporter of the arts- and would often be seen out,

enjoying one of many arts events in our city. This personal dedication and

love of the arts led to his involvement in the plans to expand the Bowman

Arts Centre over twenty years ago. These plans have now progressed into

the design and construction of Lethbridge’s new Community Arts Centre.

Art had a special way with people and a great ability to bring a community

together to reach a common goal. Through his work he has touched the

lives of so many. Art’s immense presence will be solely missed but in his

passing, we have all been lifted by his spirit and brought closer together.

AB

By Christopher Babits and Dan Westwood;Ferrari Westwood Babits Architects

Arthur Ferrari

AB

Thank You2011 AACE Awards

Allied Arts Council Awards of ExcellenceIndividual:

Robert Tarleck & Dr. Barbara Lacey

Service Organization:Covenant Health, St. Michael’s Health Centre

Business:CTV Lethbridge

Joan Waterfield Memorial Award:Trent Moranz & Maureen Chambers, South Country Fair

Platinum

Thank You to our event partners

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

MAYOR’S

Silver

Gold

Bronze

Joan Waterfield Memorial Award sponsored by:

New Members: January 15/2011 – August 15/2011:

Artist Members:

Andrea Lawrence

Fernando Alejandro Espindola Villar

Fran Hutton

Ira Provost

June Dash

Leif Isaacson

Marie Moser

Patricia Polo

Valerie C Jensen

Friend & Family Members:

Barb Martens

Jenn S. Rempel

Shanna Bailey

Valerie Stanzl

Wendy Osborn

Wilma & George McCrea

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

support the arts

NEW MEMBER RENEWAL

Name

Business (if applicable)

Address

City

Province

Postal Code

Telephone

Facsimile

Email

Website

Allied Organization $75*

Artist $25*

Associate $75*

Friend to the AAC $15

Family Friend to the AAC $25

I would like to make a donation of $

TAX RECEIPTS WILL BE ISSUED FOR DONATIONS

CREDIT CARD INFORMATION

Visa Mastercard

Total Donation and/or Membership amount

Card#

Expiry Date

Signature

CHEQUES ARE PAYABLE TO THE ALLIED ARTS COUNCIL OF LETHBRIDGE

I am interested in becoming an AAC volunteer

*Inclusion in Arts Directory

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

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

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

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

and annual fundraising activities.

Core funding support is gratefully received from:

ARTSBRIDGE 19

Allied Members:

Alberta Potters Association

Ella Kitsul Professional Dance Instructor

Lethbridge Legion Pipe Band Association

Lethbridge Lightseekers

Lethbridge Pride Fest Society

Associate Members:

Amp All Audio

dB Pro Audio Ltd.

Flair Travel Planners

Lethbridge Audio Visual Rentals

Long & McQuade

Penny Coffee House

Volunteer Lethbridge Association

Release:

I, , authorize the Allied Arts Council of Lethbridge to

include my name in publications.

Signature:

This is in accordance with the Government of Alberta’s Freedom of Information

and Protection Privacy Act (FOIP)

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

MAYOR’S

1 ARTSBRIDGE

calendar of eventsOCTOBER

Allied Arts Council . . . . . . . . . . .Lethbridge Arts Days 2011September 29 – October 2Downtown Lethbridge

Empress Theatre . . . . . . . . . . . . .Spinney BrothersOctober 27 & 28, 8pm

Galt Museum & Archives. . . . . .Songs & Stories from the Crow’s Nest October 21, 2pm

Rocky Horror Picture ShowOctober 29, 9pm

Geomatic Attic . . . . . . . . . . . . . . .David FranceyOctober 19, 8pm

Monkey JunkOctober 24, 8pm

Romi MayesOctober 27, 8pm

Lethbridge Folk Club . . . . . . . . .Duane Steele with opener –Charlie EwingOctober 15, 8pm

Lethbridge Lightseekers. . . . . .Gypsy Spirit DanceOctober 7Bowman Arts Centre

Lethbridge Symphony Orchestra. . . . . . . . . . . . . . . . . . . .Chamber Series IOctober 7, 8pmSouthminster United Church

Master Series IOctober 17, 8pmSouthminster United Church

New West Theatre . . . . . . . . . . . .In A World Created By a Drunken GodSeptember 29 - October 8Yates Theatre

Southern Alberta Art Gallery . . . . . . . . . . . . . . . . . . . . . .Emotional Blackmail: Towards Sincerity in ArtGroup ExhibitionUntil November 13

Between Material and ImaginationDenton Fredrickson & Catherine RossUntil November 13

Trap\door Artist-run Centre2011 Annual ExhibitionMarie-Lyne Quirion- Participatory Photo worksOctober 17- 24

University of Lethbridge Art Gallery . . . . . . . . . . . . . . . . . .Cereal Gen (Food Series)Until October 27Main Gallery

Cereal Gen (Food Series)Until October 21Helen Christou Gallery

University of Lethbridge Faculty of Fine Arts. . . . . . . . . . .R & J: An Orginial Performance CreationSeptember 29 - October 1, 8pmOctober 1, 2pm & 8pmDavid Spinks Theatre

The Social Network (New Media Series)October 6, 6:30pmLethbridge Public Library Theatre

Rossini Petite Messe SolennelleOctober 15, 8pmU of L Recital Hall

The Government InspectorBy Nikolai Gogol, adapted by Morris PanychOctober 18-22, 8pmUniversity Theatre

TheatreXtra: Red by John LoganOctober 27-29, 8pm Matinee October 29, 2pmDavid Spinks Theatre

NOVEMBER

Bowman Arts Centre . . . . . . . . .Christmas SaleNov 25- 10am – 9pmNov 26- 10am – 4pm

Empress Theatre . . . . . . . . . . . . .International Guitar NightNovember 26 & 27, 8pm

Galt Museum & Archives. . . . . .WWI LettersNovember 2, 2pm

Geomatic Attic . . . . . . . . . . . . . . .C.R. Avery/ WilNovember 15, 8pm

Little Miss Higgins/ The Good LoveliesNovember 23, 8pm

Lethbridge Folk Club . . . . . . . . .Brock Zeman BandNovember 12, 8pm

Lethbridge Lightseekers. . . . . .Gypsy Spirit DanceNovember 4Bowman Arts Centre

Lethbridge Symphony Orchestra. . . . . . . . . . . . . . . . . . . .Chamber Series IINovember 18, 8pmSouthminster United Church

Kids Choir INovember 30, 7pmSouthminster United Church

Southern Alberta Art Gallery . . . . . . . . . . . . . . . . . . . . . .Helping YourselfKyla MallettNovember 19 - January 8

Never Odd or EvenGareth LongNovember 19 - January 8

Textile Surface Design GuildJourneys in Surface DesignNovember 5 - January 7, 2012Bowman Arts Centre

University of LethbridgeArt Gallery . . . . . . . . . . . . . . . . . .OutlandishOctober 28, - January 1, 2012 Helen Christou Gallery

The Lion’s Share (Food Series)November 3 - January 5, 2012W600 Centre for the Arts, Main Gallery

Culture Vulture Saturday: Rub it in!November 19, 10am – 5pmCentre for the Arts Atrium

University of Lethbridge Faculty of Fine Arts. . . . . . . . . . .Opera Workshop: All in the FamilyNovember 4 & 5, 8pmW570 University Recital Hall

Requiem for a Dream (New Media Series)November 9, 6:30pmLethbridge Public Library

U of L SingersNovember 18, 7:30pmGem of the West Museum

Moveable FeastNovember 22 - 26, 8pmMatinees: November 24, 11am November 26, 2pmDavid Spinks Theatre

Braggin’ in BrassNovember 23, 8pmUniversity Theatre

Classical Percussion ConcertNovember 25, 8pmUniversity Theatre

DECEMBER

Empress Theatre . . . . . . . . . . . . .Michelle Wright ChristmasDecember 6 & 7, 8pm

Galt Museum & Archives. . . . . .Jane Harris Zsovan presents: Coal, Culture, and ConfederationDecember 7, 2pm

Film: Wild Rose Country: A Spirit of Heritage December 21, 2pm

Lethbridge Folk Club . . . . . . . . .Lowry OlafsonDecember 3, 8pm

Lethbridge SymphonyOrchestra. . . . . . . . . . . . . . . . . . . .Kids Choir IDecember 7, 7pmSouthminster United Church

Master Series IIDecember 17Southminster United Church

McGill Blvd. Music & Arts School . . . . . . . . . . . . . . . . . . . . . .Christmas ConcertDecember 3, 7pm

New West Theatre . . . . . . . . . . . .Light it UpDecember 15 – 31Yates Theatre

University of Lethbridge Faculty of Fine Arts. . . . . . . . . . .Passenger Side (New Media Series)December 1, 6:30pmLethbridge Public Library Theatre

Winter WindsDecember 2, 8pmSouthminster United Church

New Orford String Quartet December 3, 2pmRecital Hall

october

november

december

of

24 ARTSBRIDGE

calendar of events eventsStella Natalis December 3, 8pmSouthminster United Church

Vox MusicaSing A-long MessiahDecember 11, 7pmSt Augustine’s Church

JANUARY

Empress Theatre . . . . . . . . . . . . .African Guitar SummitJanuary 18 & 19, 8pm

New West Theatre . . . . . . . . . . . .If You Give a Mouse a CookieDecember 26 - January 7Sterndale Bennett Theatre

University of Lethbridge Art Gallery . . . . . . . . . . . . . . . . . .Notebook (art + People = X)January 6 - February 24Helen Christou Gallery

University of Lethbridge Faculty of Fine Arts. . . . . . . . . . .Blaine Hendsbee & FriendsJanuary 18, 6:30pmRecital Hall

The Orphanage (New Media Series)January 18, 6:30pmLethbridge Public Library TheatreBig Band CabaretJanuary 21, 8pmU of L Ballroom (Students’ Union Building)

TheatreXtra January 26 - 28, 8pmMatinee: January 28, 2pmDavid Spinks Theatre

AbbondanzaJanuary 28, 6pmCoCo Pazzo Italian Café

FEBRUARY

Empress Theatre . . . . . . . . . . . . .A Stan Rogers Tribute by Nathan RogersFebruary 22 & 23, 8pm

Lethbridge Folk Club . . . . . . . . .Sultans of StringFebruary 11, 8pm

University of Lethbridge Faculty of Fine Arts. . . . . . . . . . .The Necessities of Life (New Media Series)February 2, 6:30pmLethbridge Public Library Theatre

Mozart’s The Magic Flute February 3 & 4, 8pmSouthminster United Church

U of L Wind Orchestra & Sir Winston Churchill HS Symphonic Band (Calgary)February 9, 7:30pmCollege Drive Community Church

The Game of Love: Winners & LosersFebruary 10, 7:30pmLethbridge Public Library Theatre

Hamlet by William ShakespeareFebruary 14 - 18, 8pmMatinee February 16, 11am

MARCH

Empress Theatre . . . . . . . . . . . . .Caladh NuaMarch 15 & 16, 8pm

Lethbridge Folk Club . . . . . . . . .Andrew & Zachary SmithMarch 24, 8pm

New West TheatreThe Kitchen WitchesMarch 8 – 17Yates Theatre

University of Lethbridge Faculty of Fine ArtsThe Tree of Life (New Media Series)March 1, 6:30pmLethbridge Public Library Theatre

TheatreXtraMarch 1-3, 8pmMatinee March 3, 2pmDavid Spinks Theatre

Plays & Prose Competition WinnersMarch 15, 7pmDavid Spinks Theatre

PIANISSIMO!March 17

The Madonna Painter or The Birth of a Painting by Michel Marc Bouchard March 20-24, 8pmUniversity TheatreEssentially Ellington March 24, 8pmThe Gate

Global Drums!March 30 & 31, 8pmUniversity Theatre

february

march

january

For more events, visit the AAC Arts Calendar at www.artslethbridge.org/arts-calendar

Contact information for each event/organization:

A l l i e d A r t s C o u n c i l4 0 3 - 3 2 0 - 0 5 5 5

B o w m a n A r t s C e n t r e4 0 3 - 3 2 0 - 5 7 7 1

E m p r e s s T h e a t r ew w w . e m p r e s s t h e a t r e . a b . c a

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

T h e G e o m a t i c A t t i cw w w . g e o m a t i c a t t i c . c a

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

L e t h b r i d g e L i g h t s e e k e r s4 0 3 . 5 2 4 . 1 2 1 7

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

M c G i l l B l v d . M u s i c & A r t s S c h o o lw w w . m c g i l l m u s i c a n d a r t s . c o m

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

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

Te x t i l e S u r f a c e D e s i g n G u i l dw w w . s u r f a c e d e s i g n l e t h b r i d g e . c a

Tr a p \ d o o r A r t i s t - r u n C e n t r ew w w . t r a p d o o r a r c . c o m

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

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

John MacDonald Ph: 403.524.4440 email:johnmacdonald99@shaw.ca

On the Covers: Photography by John MacDonald