22

Nov/Dec 2010

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Serving the Canadian art industry www.brushstrokemagazine.com

Canadian Scapes
featuring Canadian locations only

SUMMER DAY AT MINNEWANKA Brent Laycock

Portrait will help raise funds for Boomers Legacy

Putting together

THE BIG PICTURE

Mural Mosaics

Publishers Corner
This issue we feature a variety of Canadian landscapes done by Canadian artists. We thank all artists who sent in landscapes although there were many and not all could be featured. We hope you all enjoy the work featured. This month we have an article about Toronto artist Jack Butlers bio-medical work, which is an example, although certainly not the only example, of how important art is in ways other than sensual appreciation. We also feature a story about the Lavoie brothers and Phil Alains Mural Mosaics that are becoming world renowned. Each mural can contain the works of hundreds of artists, and features an overall theme or image, with numerous other images used to complete the overall image. And there is also a story about a personal friend of mine - Shairl Honey - whose portrait is so symbolic of fallen soldier Andrew Eykelenboom that his mother has been using it for a variety of charitable undertakings in his honor. There are many photos that she could be choosing, but this is a clear example of how a portrait not only captures a likeness, but can truly capture the spirit of the person portrayed. I am really looking forward to the next issue that will feature the winner and nalists from the portrait and gurative competition. The deadline is Dec. 30, so get your work in soon to be included. I wish you all a very happy holiday season, and all the best in the New Year.

Beyond Discouragement Creativity

PUBLISHED BY JENSU DESIGN PUBLISHER: Susan Blackman All material printed in this magazine, written or depicted, is protected by copyright of this magazine and/or the artist, and cannot be reproduced in any form without express written permission from the publisher. All views expressed are those of the author and not necessarily those of Canadian Brushstroke Magazine. Brushstroke makes no recommendations as to the purchase or sale of any product or service. All letters or contributions to Canadian Brushstroke Magazine are subject to editing with no limits or liability. JENSU DESIGN Box 5483, Leduc, Alberta Canada T9E 6L7

Phone: 780-986-0789 Fax: 780-986-8393 E-mail: [email protected]

www.lulu.com

CANADIAN BRUSHSTROKE MAGAZINE Box 3449, Phone: 780-986-0789 Leduc, Alberta Fax: 780-986-8393 Canada T9E 6M2 www.brushstrokemagazine.com E-mail: [email protected]
2 Canadian Brushstroke Magazine Nov/Dec 2010

TM

By Susan Abma

www.projectheroes.ca FOLLOW OUR BLOG AT: www.projectheroestm.blogspot.com

PROJECT HEROES is a non-prot effort that will see every fallen Canadian soldier from the Afghanistan war commemorated in a 14 x 18 framed work of ne art, with the intent to exhibit the paintings in every province in Canada, along with other commemorative paintings, military paraphernalia, personal items from the soldiers, including written material such as letters they wrote home, and video clips, etc. Artists Susan Abma, Shairl Honey, and Cindy Revell have been touched by the bravery of the soldiers who died serving our country in Afghanistan. As painters, they will have the extraordinary honour of recording history and preserving the memory of these exceptional men and women.

WEBSITE:

By Cindy Revell

With your help, they will be creating a massive, historic, military oil portrait collection. The fallen soldiers from Afghanistan could possibly live in their paintings for many hundreds of years. For more information on this project, go to:

www.projectheroes.ca

ATTENTION GALLERIES:
**Venues in major Canadian centres that are equipped for and large enough to host this exhibition in 2012 are invited to contact Project Heroes at 780-986-0789 or email [email protected] . All venues will be considered, but the venues chosen will be those best suited to the project.

By Shairl Honey

The paintings shown above are - Top: Cpl. David Braun, Centre: Cpl Cole Bartsch, Bottom: Cpl. Andrew Eykelenboom. The fallen soldiers portraits will be revealed on a rotating basis. The entire collection will not be displayed together until after the rst exhibition in 2012.
Canadian Brushstroke Magazine Nov/Dec 2010 3

Canadian Scapes
ust north of Old Woman Bay on Lake Superior's east coast lies this oasis of crystal clear water surrounded by sheltering walls of rock and trees. Its an incredible place to paint and paddle, says Cory Trepanier. The pursuit of painting Canadas captivating lands, waters and skies has been a consuming affair for much of Trepaniers life. Throughout his career, he has expressed his artistic vision by painting BRULE HARBOUR, Oil on canvas, 40 x 21 some aspect of the outdoors. In 2001 paddled, camped and lmed while Cory painted. The result he pursued his own major art endeavour, the COAST To was a touring exhibition in 2004 consisting of over 30 oil CANVAS Project. paintings and a 40-minute documentary that shared their This project saw the artist and his family spend almost a experiences and the creative process. month in each season exploring the coasts of Lake SupeVisit his website at www.trepanieroriginals.com. rior and Georgian Bay. During these treks, the Trepaniers

featuring Canadian locations only

cory trepanier

anna kutishcheva
March Shadows is one of the paintings from Bruce Trail Illustrated series for upcoming February 2011 show at Burlington Art Centre. I would like to capture not only places along the Trail, but spirits of the places in changing light, somewhere between shadows. I discovered this particular spot during a warm early March afternoon, and the light reecting from melting opaque ice of the shallow lake and the layer of the water on top of it created amazing 3 dimensional shapes on the Teaching Rock. I work quickly and emotionally - usually nding the right place, light, and state takes much longer than painting itself. North American nature, its unique unspoiled magic is my constant source of inspiration. I feel that the ancient way through nature: shapes of trees and rocks, shadows and lights - gives an excellent opportunity to express your soul. One day and place its cheerful, another - miserable and angry, but is always glorious. Anna Kutishcheva was born and raised in Kiev, Ukraine, were she studied art and then worked as a ne artist, illustrator, and graphic designer for several magazines and advertising agencies. After coming to Canada in 1998 she went to Sheridan College and graduated from the Advanced Illustration program. To view more of Kutishchevas work, go to www.mahnart.com.

MARCH SHADOWS, Acrylic on canvas, 30 x 40 4 Canadian Brushstroke Magazine Nov/Dec 2010

Canadian Scapes
horace champagne
his little village, LAnge Guardien is about 15 minutes from my studio, on the North side of the St. Lawrence river with Ile DOrleans in the background, says Champagne. There are several like this on the way down to the gulf, where AY Jackson, James Wilson Morrice, Clarence Gagnon, Albert Robinson, and many others in their steps, painted on location many years ago. The arrival of spring here comes in a rush, and to be able to paint the melting snow, people coming out for the warm march sun, is a pleasure to observe and put down on paper. The composition here is a natural, with hardly a thing to move around, and the spot of red, (my touch) is very important! He was educated in Montral, Ecole des Beaux-Arts, Ottawa School of Art, in the U.S.A. with Charles Movalli, Rocky Neck Mass., AHH SPRINGTIME, LANGE GUARDIEN, QUEBEC, Dry pastel, 12 x 15 and Daniel Green in North Salem, the Canadian Rockies. He credits his artistic success to a great New York. He had a successful career in commercial start thanks to Peter Ohler Sr., owner of Masters Gallery in Calart and advertising before getting ensconced in paintgary. To nd out more, go to www.horacechampagne.com. ing the Quebec and Newfoundland landscape, and

tracey mardon

came upon this scene on one of my daily walks along the North Saskatchewan Riverbank in my Edmonton neighborhood. For me the scene epitomized the subtle beauty of the Prairie landscape, the leaves absolutely looked like jewels. One of the joys of doing a series is reliving the feeling of excitement I had when I came upon the scene. Mardon has taken workshops in Canada and U.S. with national and international artists. Her love of colour, rst sparked by her Crayola crayons is evident in her work. She enjoys painting from life, both landscape and portrait. When the prairie weather insists, she paints in her studio from photographs taken during her travels. Learn more about Mardon on her blog at http://traceymardon.blogspot.com.
Canadian Brushstroke Magazine Nov/Dec 2010 5 Canadian Brushstroke Magazine Nov/Dec 2010 5

JEWELS OF FALL, Oil, 8 x 10

jerry markham

think that Lake O'Hara is one of the most beautiful places in Canada. It is also painted by many artists including many master painters who have come before us. The weather can be hit and miss but this particular morning it was beautiful and sunny, says Markham. Markham has been featured in International Artist Magazine's Landscape Competition, The Artist's Magazine Annual Competition, and Canadian Brushstroke Magazine. He also won Best Landscape-Urban Scape at the Annual International Representational Show in Vancouver, BC in 2010. He is currently a member of the Oil Painters of America and Federation of Canadian Artists. To see more of Markhams work, visit his website at www.jerrymarkham.com. MORNING AT LAKE OHARA (PLEIN AIR), Oil, 10 x 12

Canadian Scapes
craig johnstone
Lions Head is painted from a picture I took of Moraine Lake in Alberta. I really love the mountains and tried to capture both the surrounding lake and mountains from this picture. The resulting lion's head image in the mountains was one of those accidents of painting. I'm a self-taught artist, who in my younger years dabbled in a lot of comic book art - superhero pencil and ink drawings. In the late '80s and early '90s, I started painting with oils. My main inspiration was wildlife art, and in particular, I was inuenced by Robert Bateman's style. After a few years I got back into painting by enrolling in an acrylics class at the Forum Art Center in Winnipeg. I also become one of its Board of Directors and am currently President of the board. My website is www.craigrjohnstone.com.

LIONS HEAD, Acrylic, 24 x 30

brent laycock

ake Minnewanka is a glacial lake located in the eastern area of Banff National Park in Canada. Laycock is a member of several of the most prestigious Canadian art organizations such as The Alberta Society of Artists, The Society of Canadian Artists, the Canadian Society of Painters in Water Colour, and the Royal Canadian Academy of Arts. Some interesting creative milestones have been the commissions to paint images for two Canadian postage stamps, and to create indoor and outdoor murals. His work has been included in many books and publications, including the cover of Readers Digest. See more of Laycocks work at www.brentlaycock.com.
6 Canadian Brushstroke Magazine Nov/Dec 2010

SUMMER DAY AT MINNEWANKA, Acrylic, 48 x 72

WEST

(Yukon, Alberta, B.C.)

Putting together

THE BIG PICTURE

Hundreds of Canadian artists help to create large and meaningful murals for communities and special events.
hen Lewis Lavoie and Phil Alain coordinate a painting, it may actually be more than 200 paintings, and it may be close to 20 tall. Several years ago, Alain came across a mural that Lavoie had done in his hometown of St. Albert, Alberta. The mural was a painting of the head of Michelangelos David, but it was made up of 20 separate paintings that Lavoie had worked together into the big picture. When Alain saw the mural, he discussed with Lavoie a possible collaboration that might be effective in a future mural. They both wondered if it was possible to use multiple artists to create one of the large murals and worked with Lavoie to make it possible. I was working with a large group of artists at the time through my Night of Artists shows. Through this network, seventy-ve artists got together at West Edmonton Mall. The artists worked on the ice rink area that had been covered for the event and attempted to create a large mural in 24 hours. Alain and Lavoie were stressed because the media had been invited at the expected completion time, so there was pressure to not only complete the mural, but to have it successfully depict the major image called The Fiddler. Because we worked 24 hours and through the night, we were exhausted. We were starting to panic, says Alain. The image didnt appear to be coming together, but at about 8 a.m., All of a sudden we started to see the face of The Fiddler start to emerge. When we discovered the mural was working, there was more feverish energy - an electric buzz around the arena. Sure enough it turned out and it became something that was bigger than we ever could have imagined.
Canadian Brushstroke Magazine Nov/Dec 2010 7

THE HORSE GIFT Above, The Horse Gift, made up of more than 200 hundred panels, is on display as an installation at Edmonton Northlands. Left: A single panel from the horse mural.

The pair planned another mural for the centennial for Alberta and Saskatchewan. This time, among the artists who painted for the project were then Premiers Ralph Klein (Alberta) and Lorne Calvert (Saskatchewan). Once again the mural came to life, says Alain. Next thing you know a dream thing happened. We were asked if we could unveil a mural for Queen Elizabeth. It was displayed in front of the Royal Alberta Museum in Edmonton. Alain says they created the mural to split in half so that the Queen could walk through it and into the museum. Behind the scenes of Mural Mosaic, Lavoies brother Paul, an art director and graphic designer, is also involved in every aspect, from the initial concept of an idea, production, administration, website design, to the end result including installations. Alain and the Lavoies have completed several other murals, but what really changed everything, adds Alain, was a mural we did for the town of Cochrane. He says everyone from elementary school students to the mayor worked on the mural. The community pride in the mural was so high that they started emailing everyone to check out our website. Within a month we had more than 120,000 hits per day. Weve now had over 33,000,000 visitors to our website. At rst we had to look far and hard to nd artists. From that point we had artists lining up to paint. Alain says being part of a mural is benecial to the artists involved because they end up getting commissions and people want prints of BABY JESUS MURAL their images. Lewis (Lavoie) is the mastermind, says Alain. Hes the genius - he spends months coming up with the image. Hes looking for simplicity, but detail, and tries to determine how artists will interpret the murals. The artists are given panels (usually hardboard) that vary in size depending on the mural, but are generally 12 to 16 squares. The panels have been given a primer coat, and the artists are given some color and shape guidelines. From there, they paint in acrylics using their own creativity. They are given 3-4 months to complete their panel. It comes down to the artists ability to work with shapes,
8 Canadian Brushstroke Magazine Nov/Dec 2010

says Alain. I really see some unbelievable talent. None of the artists have any idea what the big picture will be until all of the panels are put together and unveiled. Alain and the Lavoies have been commissioned by the City of Utah to do a mural that depicts the history of the United States that will be unveiled in the spring of 2011, and Lewis Lavoie is also working on a solo project - a mural called King of Kings. To view completed murals and nd out more about Mural Mosaic, go to www.muralmosaics.com.

Johnson Gallery Tracey Mardon 7711 - 85 St., Edmonton, AB 780-465-6171 www.johnsongallery.ca

Susan Abma

Johnson Gallery

Cindy Revell

7711 - 85 St., Edmonton, AB 780-465-6171 www.johnsongallery.ca

Susan Abma
Canadian Brushstroke Magazine Nov/Dec 2010 9

! L L A CALL CALL C T S LA FOR FOR

ENTRIES ENTRIES

Portrait and Figurative

Competition No. Subject

We want to show off Canadas artists, and our competitions help us do that! Be sure to enter your artwork in our competitions not only do you have a chance to

10
Portrait and Figurative Two dimensional drawing or painting medium $15 each
(You can enter as many works as you would like)

WIN $1000 CDN

plus an award certicate, but we also get a chance to see your work and we just may feature YOU in an upcoming issue of Canadian Brushstroke Magazine.

Medium

Entry Fee Entry Deadline

Dec. 30/2010

*Winners and nalists will be featured in the Jan/Feb 2011 issue of Canadian Brushstroke Magazine

RULES - HOW TO ENTER

DIGITAL FILES ONLY Enter with high res digital le only on CD only. Do not send digital images via email to our ofces - they will be automatically disqualied. You must print off the entry form on next page, complete it, and send it along with your CD and method of payment. If you have more entries than the space allotted, please print another form and ll it out completely. All CDs must be labeled with the artists name, the number of entries on the CD, each of their titles and this issues Competition Number. All les on the CD must be labeled as follows: lastname/rstname/Entry No. Example: John Smiths Entry No. 2 would be labeled smithjohn2. ELIGIBILITY This competition is open to any artist with residency in Canada. All work must be original, not copied from any other artists work, photographers work or published work of any kind, and must have been completed in the last two years. The work can not have won previous awards or any distinction of any kind. No works created under supervision are eligible. We reserve the right to refuse any entry, or ask for source material at our discretion.

10 Canadian Brushstroke Magazine Nov/Dec 2010

RULES - HOW TO ENTER (contd)

ENTRY FEE/DEADLINE The DEADLINE for Canadian Brushstroke Magazine to RECEIVE entries is Dec 30/10. You cannot courier material to our box number, so be sure to send it in plenty of time (Address is on submission form below). The fee per entry is $15 CDN, which can be paid by VISA, cheque or money order. The fee MUST be included with the CD and entry form submission. The entry fee is not refundable. COMPETITION JUDGES The competition entries will be chosen by Canadian Brushstroke Magazine, and/or qualied judges of our choosing. PERMISSION TO PUBLISH Signing and submission of the entry form, digital les and payment will constitute permission for Canadian Brushstroke Magazine to publish your artwork(s), your name and information in our magazine, which is released on the internet, and copies archived on our website on the internet for as long as the publisher wishes to keep the archived editions on the site. Submission of the entry also constitutes the entrants acceptance of all competition rules. The winner and nalists will be notied by e-mail, and their work will be published in the specied edition of the magazine. The judges decisions are nal. Grand Prize winners may not enter the competition for a full two years after winning. Finalists may re-enter. Canadian Brushstroke Magazine does not accept any liability for color variations that may occur as a result of different computer screens. The artists will be properly credited.

Entry 1

Entry 2
Title: Title:

Entry 3

E N T R Y F O R M

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I enclose my cheque or money order for the total fee of $15 Canadian PER ENTRY OR, please charge the total sum to my VISA: _____________________________________ EXPIRY DATE:_______________________Signature________________________________

*Please BE SURE to include a paragraph about yourself and another about each painting for us to use in the event we publish your painting(s).
I solemnly declare that all the works listed on this entry form are my own original artworks and I own the copyright to the work and to all source material used in creating this artwork. I understand the entry, including the form and CD, will not be returned, and I understand the entry fee is nonrefundable. I have thoroughly read and agree to all competition rules, and I understand I am granting the rights to publish my name, the artworks listed and information in an upcoming issue of Canadian Brushstroke Magazine and that the issue will be archived for an undetermined amount of time on Canadian Brushstroke Magazines website: www.brushstrokemagazine.com. **If you wish to receive conrmation that we have received your entry, enclose a self-addressed STAMPED postcard.

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Please mail this form and the properly labeled CD (see Rules - How to Enter) with properly labeled les to: Canadian Brushstroke Magazine, Box 3449, Leduc, AB, T9E 6M2
Canadian Brushstroke Magazine Nov/Dec 2010 11

classieds
ARTIST PROJECTS WORKSHOPS/RETREATS

FALLEN HEROES

PLEIN AIR IN ARIZONA

Winter Plein Air Painting Workshops in Sedona, Arizona, with Michael Chesley Johnson MPAC. Workshops for all levels and all media. $300. For details, visit www.PaintSedona.com.

Sign up for the Project Heroes newsletter and get regular updates on the progress of the upcoming exhibition of the portraits of fallen Canadian soldiers. (See ad on Page 3). To sign up, email your name and info, including email address, to info@projectheroes. ca. Website: www.projectheroes.ca . MARKETING/PROMOTION

ARTIST WEBSITES

PLEIN AIR WORKSHOP IN THE ROCKIES

Follow in the footsteps of master painters, such as John Singer Sargent, Carl Runguis and J.E.H. MacDonald, by painting at Bow Lake, Lake OHara and Moraine Lake. Two workshop dates available in July 2011 with Jerry Markham. Visit www.jerrymarkham. com <http://www.jerrymarkham.com> for more information.

Artist Websites from $450 Save money by being able to update images and content yourself. Includes search engine optimization, website visitor stats so you know how many people visit your website, and instructions on how to update your website. Visit www.artistswebsites.net <http:// www.artistswebsites.net> or call 1-877-311-2787 for more info.

ART GALLERY OF AB
Roll up your sleeves and explore art-making with fun dropin classes at the AGA. Themes vary from week to week so you can pick and choose your classes. http://www.youraga. ca/education/adults/open-studio-adult-drop-in-workshops.

THE WAG
The Winnipeg Art Gallery has a host of programs including Art for Lunch, Tours, Family Sundays and more. To nd out more about the WAG, go to http://wag.ca/learn/ programs .

TO BOOK YOUR CLASSIFIED...

To book your classied ad, send your ad information to: [email protected] . Categories can include but are not limited to: Artist Projects, Artist Studios, Art Supplies, Call for Entries, Gallery Listing, Gallery Shows, Marketing/Promotion Services, Workshops/Retreats, For Sale, Wanted, etc. Classieds are $25 for 25 words and .50 for each additional word. To include an image will be $25 extra. You will be contacted to conrm the ad and to arrange payment.

www.WestshoreArtistPanels.com

12 Canadian Brushstroke Magazine Nov/Dec 2010

(Ontario, Quebec)

EAST

(Ontario, Quebec)

Toronto artists

BIO-MEDICAL
J

work shows the place of art in medicine

Jack Butler - Picturing Fatemaps (Images shown), is comprised of three distinct elements: First, my computer animation, Genital Embryogenesis plays continuously on a video monitor. The animation titled Genital Embryogenesis, 1978 - 2007, is based on my participation as a member of a research team comprised of a urological surgeon, pediatric endocrinologist, radiologist, geneticist and artist - at Children's Hospital of Winnipeg, Canada, 1976-1980. My charge was to make models representing normal and anomalous development of the genitals in the human embryo. Second, a contextualizing discourse, Picturing Genital Embryogenesis addresses the biological and social-critical investigation of sexual differentiation in the human embryo. The animation, Genital Embryogenesis, and the full paper, Picturing Genital Embryogenesis, are on my web site. Third, Fatemap: would you like to know what will happen?, is a theatrical, video projection construction, comprised of multiple layers of paintings on clear vinyl (paintings that represent embryological development of the face and genitals), through which palimpsest one views the projected video Nipples, a compilation of live performances where I draw explanations of genital development on the skin on my body and on the bodies of friends. My choice of locally found step ladders as supports for Fatemap: would you like to know what will happen? (image on next page), and my use of set-it-up, take-it-down portable materials emphasize the theatrical, performative, contingent nature of the work - my work is play. And the role of fate, represented by the biological concept of the fatemap, is also a metonym for the theatrical, performative, contingent and unstable development of genital sex, gender and sexual identity.

ack Butler may not be the person you picture when the word artist comes to mind. Sometimes, hes a scientist. Other times, a biologist. On occasion, a licensed nancial analyst. But always, Jack Butler is an artist. His rst work with bio-medical imaging was as a young student in Pittsburgh, Pennsylvania. I did my rst explorations into embryology when I was a high school student raising chicken eggs. I opened them day after day as they matured. I did drawings of what the little chick embryos looked like and was fortunate in that I had a girlfriend whose father was chief of staff of a hospital in Pittsburgh and he cultivated my interest through actual laboratory training, explains Butler.
Canadian Brushstroke Magazine Nov/Dec 2010 13

His love of drawing forced him to choose art rather than medical studies, and it wasnt until 1976 that he resumed medical artwork again. At that time he got an offer from the Childrens Hospital of Winnipeg to join a medical research team. Working side-by-side with an endocrinologist, a surgeon and an ethicist for the next four years, Butler would explore the development of human genitals in relation to certain diseases. The study of embryology, a section of biology that deals with the development of human embryos, had been an artistic muse of Butlers for many years. Butlers bio-medical work has posed scientic questions and occasionally unearthed answers. It engages and reects the human touch that only a gifted artist can provide, or in Butlers words, the methods and intellectual, visual and material tools of art-making. One of the projects that came out of Butlers research is Embryogenesis of Breath. It was a project to come up with the modeling for how the lungs develop the capacity to breath literally in the embryological development and how the tiny little buds at the beginning turn out to produce the millions of chambers which are capable of transpiration of gases. On a website (www.fatemaps.ca) dedicated to the project, Butler further explains his vision: How can I model the complex development-in-time of those unknown embryological structures which, at birth, will support the breath? As a visual artist facing a scientic question, I proceed by a process of visual analogy based on a dialogue between biology and art. The most critical question is: How can I keep theory embodied, in touch with lived experience? In examining slides of embryological lung tissue, Butler harkened back to his days in Baker Lake (a small hamlet in the Canadian Arctic) and photographs he had taken of the patterns formed by ice as it froze on an Arctic lake and the waves that would form at the ices edge. It was through a process of visual analogy." Butler explains. For instance, the patterns in the formations of ice forming under pressure might relate to whats happening in the developing human lungs. From this discovery, Butlers hands crafted models of the embryonic lungs that showed the development of breathing chambers. Butler adds, I came up with a mathematical model that demonstrates how the average alveoli would be structured. For Butler, there is always more work to do. Im motivated the way most artists are. I do this work because its imperative to my own understanding of how the world works. It grows in intensity and its more and more important that I feel like I get it right some of the time. I think I get the questions right, but the answers keep changing. In addition to Butlers ongoing interest in embryology, he has recently been focused on following up on his work in Baker Lake, Nunavut. Starting in 69, Butler was one of the southerners who
14 Canadian Brushstroke Magazine Nov/Dec 2010

introduced the concept of art-for-sale to the Inuit in Baker Lake. He is proud of his work in the Arctic. Teaching the Inuit print-making brought in prot, which was one of the Inuits rst experiences with money. His personal favorite recent drawing recalls his own rst experience with money. He was somewhat dumbfounded when an Inuit woman asked him how he learned about money. It brought back memories of selling ower seeds door to door as a boy - Four OClock seeds, for a quarter per envelope of 20 seeds. To examine the result of their work with the Inuit, the Art and Cold Cash Collective was formed in 2004, comprised of Butler, his former wife Sheila, Patrick Mahon, Inuit artist William Noah and writer/critic, Ruby Arngna'naag. We went back each year over several yearsstaying about a month each time. Our purpose was to look at the outcome of what we had initiated in the 1970s by introducing Western concepts of art making, says Butler, and what has been the impact of the de-facto introduction of capitalism into a society that was barter-based. The answer lies in a book, Art and Cold Cash, published this year by YYZ Books. Butler recently joined Access Copyright as an afliate. It was YYZ Books that led Butler to the organization. When asked why he felt Access Copyright was an important organization to belong to he says, The simple answer is that my work is often cited by different people in different context for different reasons. Access Copyright helps protect my own ideas and turn back some of the money regarding print publication. I think this can be very useful, said Butler. Any way of maintaining public access in a responsible way and giving the potential to earn something is a good thing. As artists, we denitely need all the support we can get.

Access Copyright (www.accesscopyright.ca) was established as a not-for-prot organization in 1988 by a group of authors and publishers to protect the value of their intellectual property by ensuring fair compensation when their works are copied. The organization represents the reproduction rights of and distributes royalties to thousands of Canadian authors, journalists, visual artists and publishers. Ultimately, whatever work Butler is doing, whether it is arts/science crossover work, teaching, or other, he says his entire work starts with a basic two words: I draw. Story written by Robert Gilbert and CBM staff

Jack Butler - Installation: My earliest memory of money is selling ower seeds door to door (2007). - audio drawing. Gouache on paper, 34 x 50, laying on a drafting table, touch sensitive magnetic tape and audio computer components. When the surface of the drawing is rmly caressed it activates ve MP3 players that speak in Inuktitut and English about rst experiences using money in the Arctic and my own answer to the question put to me by my Inuit collaborator, Ruby Arngnanaaq, What is your rst memory of money?.

Interdisciplinary artist Jack Butlers works bridge between the visual pleasure of art and the rational demands of science. He has exhibited installations, video projections, computer animations and performance works internationally. His work is in public and private collections including the National Gallery of Canada. Butler has thirty years experience as a medical model builder and published researcher in human development. In addition to his hybrid art/ medicine research practice Butler is a founding member of the Sanavik Cooperative, Baker Lake, Nunavut and has been working collaboratively with Inuit artists since 1969. He has taught at Carnegie Mellon University, Banff Centre for the Arts, the Department of Philosophy at the University of Western Ontario and most recently, as adjunct faculty in the Healthcare Technology and Place (HCTP) program at the University of Toronto. To view Jack Butlers work, visit www.fatemaps.ca and www.artcoldcash.ca.

Canadian Brushstroke Magazine Nov/Dec 2010 15

www.thegroupoftwelve.com

16 Canadian Brushstroke Magazine Nov/Dec 2010

Project Heroes portrait chosen for label to support

BOOMERS LEGACY
W

ABOVE: Shairl and Walter Honey, left, with an enlarged label of Boomers Canadian Red Ale, and Howe Sound Brewery VP John Ohler, right. BELOW: Shairl Honey with former Chief of Defence Staff for Canadian Forces, General Rick Hillier.

hen Alberta artist Shairl Honey was asked by Maureen Eykelenboom if her Project Heroes oil portrait of Cpl. Andrew Eykelenboom could be used to support the charity founded in his honor, the answer was an obvious yes. Project Heroes is a non-prot venture to commemorate the men and women who made the ultimate sacrice serving Canada. Working with the families of fallen soldiers, the three Project Heroes artists: Honey, Susan Abma and Cindy Revell, are gaining insight into the character of the soldiers, and using family photos as reference material to create portraits of every fallen soldier. In addition to the portraits, they are collecting military items, video, letters the soldiers wrote home, etc, that they expect to begin exhibiting across Canada in 2012. Cpl. Andrew Eykelenboom was killed by a suicide bomber while serving in the war in Afghanistan. He was a medic and his heart ached for the families living in poverty in the war-torn country. When he died, his mother, Maureen, formed Boomers Legacy. The funds raised are used to directly support the people of Afghanistan affected by poverty and war with emphasis on programs and services for women and children. The use of funds raised for the legacy is determined by Canadian Forces personnel in Afghanistan based on the observations of Canadian Forces members. Howe Sound Brewery, an award-winning specialty brewing company in Squamish, BC, wanted to support Maureen Eykelenboom and her charitys efforts. The company decided to launch a red ale from which proceeds would be donated to Boomers Legacy. Maureen Eykelenboom was asked to choose an image of Boomer that she wanted on the label. She chose Honeys portrait from the Project Heroes collection. Honey attended a gala in Victoria, where Boomers Canadian Red Ale was launched. She was proud and honored to have her portrait of Andrew Eykelenboom assist in raising funds for his legacy. To learn more about Project Heroes, go to www.projectheroes.ca.

www.WestshoreArtistPanels.com
Canadian Brushstroke Magazine Nov/Dec 2010 17

Johnson Gallery Tracey Mardon 7711 - 85 St., Edmonton, AB 780-465-6171 www.johnsongallery.ca

Tracey Mardon

Johnson Gallery
7711 - 85 St., Edmonton, AB 780-465-6171 www.johnsongallery.ca

Cindy Revell
18 Canadian Brushstroke Magazine Nov/Dec 2010

Susan Abma

MARKHAM ON MARKETING

What to do before approaching a gallery

the last word...

Is there something you think we should be covering that were not? We are open to input and hope that you will take the time to let us know your suggestions. We will consider all suggestions, and if possible, will include your ideas in future issues. To send your ideas to Canadian Brushstroke Magazine, please e-mail: ideas@ brushstrokemagazine.com, or send them to us at Box 3449, Leduc, AB T9E 6M2.

f you utilize these techniques you will be prepared and feel condent in approaching the right gallery for you. Write a list of what you would like in a gallery relationship A few things may be that they show your artwork regularly, pay quickly, are an established gallery with a large mailing list, take good care of your work, have a good reputation, have a good location, etc. Have 20-25 pieces of your best work ready to show They will want to see a selection of your work and if they choose to keep some work to show in their gallery they generally like to have about 10 pieces (a few to show and others on hand in case people want to see more). That leaves you with some extra in your inventory to give to your other galleries if needed or to enter into shows. Have a professional portfolio ready with 20-30 images, a bio, resume & artists statement Start with the local market Starting in your local market makes it easier to visit galleries in person and provide paintings without shipping. Then branch out to other areas. Make a list of galleries to research. Research using the Internet to narrow down the list Get a feel for the galleries by looking through their website. Look at things such as: Do they have a website and is it updated regularly? Does their website show their artists work, upcoming shows, new artwork in the gallery? How many artists do they carry and what style of work? Will your work be lost there or stand out? Visit each gallery in person Consider the following: Location How is the artwork presented and does it shows well? Is the staff friendly, approachable & knowledgeable? Are they organized? How do they take care of the artwork? Does your work t with what is presented? (Is the quality compatible; does your medium, style, subject & price range t in; will your work stand out or be lost, etc) Once you narrow down your list you will be condent in the galleries you approach.

[email protected]
www.deltaart.ca

Canadian Brushstroke Magazine benets the Canadian Art Industry nationwide by providing: 6 Annual issues. The magazines PDF format offers readers a traditional-style magazine format online, resulting in readership cover-to-cover, difcult to achieve in a usual website format. Tracked readership, because we require subscription information. Free subscriptions to more than 14,000 subscribers (many forward it to their own mailing list resulting in increased readership.)

Each issue features at least one artist from each of the four regions: West, Central, East and Maritimes. Reduced advertising overhead by lowering our magazine production costs. Increased Green Environmental image through reduced paper and ink consumption. Increased youth market penetration through hi-tech communications. Free delivery directly to the readers personal emails, rather than by newsstands.

Leah Markham provides marketing and business services for artists. Visit her website at www.artmarketingbusiness.com.

[email protected] Phone 780-986-0789

Johnson Gallery Tracey Mardon 7711 - 85 St., Edmonton, AB 780-465-6171 www.johnsongallery.ca

Anne McCormick

Johnson Gallery
7711 - 85 St., Edmonton, AB 780-465-6171 www.johnsongallery.ca
Cindy Revell

Susan Abma
20 Canadian Brushstroke Magazine Nov/Dec 2010