8

July/August 2008

FREE SUBSCRIBE TODAY!

Serving the Canadian art industry www.brushstrokemagazine.com

Pastel Painting In Artists Genes

Horace Champagne

Rue Ste. Louis

CANADIAN BRUSHSTROKE MAGAZINE PROUD TO BE THE OFFICIAL MEDIA SPONSOR FOR THE 2008 PORTRAIT SOCIETY OF CANADAS MIRACLE OF THE PORTRAIT

PEI Artist Received His First Art Education From Book

Neil Brown Central Avenue

Still Life Artist

Fell Backwards
Into Art Career
Daniele Lemieux

Deux Oignons Espagnols

Publishers Corner
anadian artist Peter Lewis made the world's first 'art' waterfalls from an Edmonton city bridge in 1980. It was a volunteer project that came from his desire to create the special work that he says is the largest piece of public art ever made in Western Canada. He raised almost all of the $3.6 million it cost to complete the project, and he did it all as a volunteer. For almost 30 years since its completion, he's been proud of his work, and he's had the 'claim to fame' for all that time. Recently however, Olafur Eliasson created four waterfalls, one of which falls from the Brooklyn Bridge in New York City. The New York city project cost $15 million. New York's mayor reportedly announced publicly that Eliasson's project was "a historical first." Not to take anything away from Eliasson's impressive project, but so often Canadians pave the way, almost always with far smaller budgets and the gargantuan task of having to raise the money themselves. Then, later, someone else, somewhere in the world gets the credit in a very public way. More emphasis needs to be placed on the need for funding of the arts in Canada, and more pride taken in our country's art creators. Also, there is a significant amount of indifference to the arts in mainstream publications unfortunately. The old press term 'If it bleeds, it leads and if it's sex it's next' seems to ring very true. In comparison to crime stories, sports and celebrity misbehavior, the percentage of arts coverage is very small. Canadian Brushstroke Magazine was 'born' because Canadian artists weren't getting the recognition they deserve. Through our stories and editorials, we hope to make our readers aware of people like Peter Lewis, who pioneered the High Level Bridge waterfalls, as well as artists like the ones in this issue. We are proud of Peter Lewis, we're proud of the artists we have covered and will cover in the future. We're proud of art students working hard on their art projects, and we wholeheartedly want to see Canadian artists get the recognition they deserve.

contents
5 Drawing/ painting the
natural way
Neil Brown, PEI, first learned drawing from a book. When he needs to brush up he still goes back to that very same book.

8 LAST CALL!

for latest competition - All About Light

Send in your favorite subjects that portray the effects of lighting (or lack thereof).

10 Quebecs Champagne
Horace Champagne is one of Canadas best known and most prolific pastel painters.

16 Taking the

long road...
Daniele Lemieux has found her design training beneficial to her painting style.

22 Twin

reasons to donate art

Regina, SK artist had twin grandsons born with Cystic Fibrosis. She now donates all her art to support further research.

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 Brushstroke Magazine. Brushstroke makes no recommendations as to the purchase or sale of any product or service.
2 Canadian Brushstroke Magazine July/Aug 2008

All letters or contributions to 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: info@jensu.ca CANADIAN BRUSHSTROKE MAGAZINE Box 3449, Leduc, Alberta, Canada T9E 6M2 Phone: 780-986-0789 Fax: 780-986-8393 E-mail: info@brushstrokemagazine.com www.brushstrokemagazine.com

26 Industry News and

Information

Whos showing where? What competitions can you enter? Who won awards? Heres where you look to find the answers.

2008 International Portrait Arts Festival

Canadian Brushstroke Magazine July/Aug 2008 3

letters...
Dear Editor, Congratulations on your magazine. From this distance (the other side of the world) it seems as if you are achieving the objectives that you set out to do. The reason for my writing is that in recent issues of Canadian Brushstroke Magazine there were a number of letters commenting on the judging of a recent art award. Comments such as these are not peculiar to Canada. There are two schools of thought on this issue, each of which is passionately held. Basically the radical view and conservative view are quite opposed. However I believe there is a third view which puts everything into perspective. This view is related to the question of just how do judges judge? When I went to art school (National Art School in Sydney, Australia) works were assessed by having them lined up against a wall. The examiner(s) then arranged them in order, from the best to the lowest ranked works. Marks were allocated accordingly. I gather a similar, or even identical, process is used for assessing artworks in almost every other art school or university all over the world. Judging an art show is basically done the same way, except the judge usually has to do a mental line-up of works. Fortunately for the judge they do not have to line all the works up in their mind, only those that are potential winners. How a judge decides which works are in that final consideration might seem to vary from one judge to another. However I suggest that all judges do what I do - they just pick what they like. Judges, being individuals, will exhibit a wide variation in works liked. This variation is further emphasized when they explain their selections. Some will mention specific criteria they apply because they believe this gives them a result they are comfortable with. Others can analyze any work to explain their choice. A few, again like me, just say I picked the ones I liked best. Artists, and even judges, tend to confuse a rationalization for a decision already made subjectively, with the actual reason for that decision. Would you rather people picked your work on an emotional basis or on the basis of some rules, lets say of aesthetics? Id definitely rather someone fell in love with my works. In addition art is visual and as such cannot necessarily be put into words. In fact it could be said that art is for saying what cannot be said (in words). Thats just another reason why no notice should be taken of what a judge may say (in words) and also why a judge cannot supply the feedback that many artists desire. Attempts to do so will create the sort of confusion that seems to have accompanied the recent Canadian award. Language is the problem, not the art or the selection. Related to this is the question of judges at art shows providing comments for artists, although its not usually a judges role to provide such comments. A judge is there to decide, for the organizers, which artists should receive whatever awards there are to be made. This is not necessarily easy, when often there are many works of a similar standard and style. However, each judge goes about the task in whatever manner they believe best. Eventually decisions are conveyed to the committee organizing the show. If you wish to use this letter in your magazine please feel free to do so. However if you chose not to because I do not fit your Canadian orientation, thats OK. But there are many issues, such as this one, which are international and create similar problems everywhere. Graeme Smith Australia *Graeme Smith writes regular articles in International Artist Magazine and is editorial consultant for Australian Artist Magazine. His website can be found at www.myartcareer.com .

welcomes
4 Canadian Brushstroke Magazine July/Aug 2008

as a new advertiser

MARITIMES

(NFLD/Labrador, PEI, Nova Scotia, New Brunswick)

CENTRAL AVENUE Watercolor, 22 x 30

Drawing and painting came NATURAL to PEI artist

Summerside, PEI artist Neil Brown received his first art education from a book. He still refers to that book many years after establishing his successful art career.

eil Brown, of Summerside, PEI, started drawing when he was 9 or 10 yrs. old. There was no real instruction available for him in the school system, so he bought the book The Natural Way To Draw by Kimon Nicolaides. The book was first released in 1969 and is still available today. It has many excellent exercises on how to draw, says Brown. To this day, when he feels he needs a little brushing up with his drawing, I still go back and practice those exercises.
Canadian Brushstroke Magazine July/Aug 2008 5

The artist, who has lived in many locations in Canada and the U.S., studied art and education at Concordia University in Portland, Oregon. He says at that time, university taught basic design and color theory, but not necessarily how to use the materials or methods of painting. The most enjoyment and skill development came from his years of life drawing classes as well as workshops that he later took from several artists who he particularly admired. One of those was Alex Powers, an artist from South Carolina. I really enjoyed his style, design and methods of working. Brown teaches art to both students and adults. As a result of his having to develop his own methodology, he says that when he teaches art, I remember those things that I felt I didnt learn when I went, and he makes sure students leave with that knowledge. Prior to moving to Summerside a year ago, he most recently lived in Grand Forks, BC, where he had his own studio gallery and taught classes and workshops at the Grand Forks Art Gallery. He has just finished setting up his new studio and gallery in PEI. He lives in an 1895 Victorian home that he and his wife have rejuvenated. He says the scenery is beautiful there. Every time you turn a corner there is a new vista. There is so much to offer. One minute you are in the most picturesque, rolling farm land and the next moment you are on the ocean watching the sailboats and working fishing boats pass by. Artistically Prince Edward Island presents some new challenges for the veteran artist: Adjusting the palette to capture the red of the earth and bright yellow-greens as well as the deep violets of the water. BRIDGEVIEW Watercolor, 30 x 22 Although Brown takes reference photos which hell occasionally refer to, he prefers to work outdoors or work indoors from his sketch book in which he records his own He really likes Winsor & Newton because initial reaction to shape, value and color of the quality is consistent and also because his subjects. no matter where he lives or travels, the His studio is in what used to be a suite in brand is usually readily available. the old house. The studio is fairly bare, His usual limited palette includes a warm although a climb up the old servants stairand cool of each of the primaries plus case open ups to a view of Summerside Hookers Green and Winsor Violet for landHarbour. scapes. For figure work he adds Cadmium I like my studio to be fairly blank and let Red, Yellow Ochre and Cerulean Blue. the cloud-white walls lighten the surface of Over the years he has found that keeping my paper, says Brown. I dont like anythe same arrangement on the palette helps thing in my environment to influence me. I the painting process. I dont even have to have light from several directions. I like to look down when Im choosing a color get as much natural light as possible. Brown stands to paint, utilizing an antique because it has become automatic. Although watercolor is his primary medikitchen table to paint on. He also has a um, he doesnt hesitate to include other large mirror in the studio which he uses a mediums including soft pastel, gouache, lot to judge shapes and colors. etc. I think for me, what Im trying to do is He works with 140 lb. Arches hot press convey a message. However I have to get paper, which he pre-wets and staples to there or whatever I find that I need to finish 1/2 inch plywood board. The one thing that painting, Ill put that into it. about hot press is that its unforgiving, he Quality is essential, though. Im very says. Every little mark shows up. I love picky about using good quality pigments that about it. and good quality paper. Winsor & Newton artist quality paints are He loves his Kalinsky sable brushes, but his favorite, and he also uses some Daniel Smith colors. Especially some of those quin hell also often use less expensive brushes also to get the effect he desires. colors, he adds. (Quinachridone colors).
6 Canadian Brushstroke Magazine July/Aug 2008

ABOVE: UP THE ALLEY Watercolor, 22 x 30 BELOW: MONTAGUE Watercolor, 22 x 30

He says his style is representational but impressionistic and loose. I want the viewer to at least identify the subject but Im not trying to duplicate what I see. I like to coax the image out. He usually starts the process by laying down several large washes and then working into the main shapes, and finally adding the accents. He plans his paintings, doing rough value sketches and working out the color choices. I roughly know how the composition is going to look. Then when I start the painting I have an idea where I think I want it to go. If it takes a different direction, I dont worry about that. You have to be open to what is in front of you, not to what you think it should look like. His production is anywhere from 20 to 30 paintings per year that he keeps. I dont keep everything I do - only the ones that have that little special spark - the rest I destroy. He doesnt make any prints or reproductions. Ive thought about it, but I like to see people buying the original. Im not just painting to sell. Its very important what Im painting. I love it. Its what I want to do and its what I have to do. He says not painting particularly for selling gives him the freedom to grow and change. No one then tells him thats not marketable. I dont want to fall into that trap. With many years of practice under his belt, Brown says, I feel comfortable with my skills. Im now trying to say what I want to say. Im always excited about what the next painting is going to be. Now it feels so natural.

NEIL BROWN has taught many workshops and he also taught art at The North Mount Pleasant Art Centre and Red Deer College in Alberta. He currently works out of his studio/gallery in Summerside, PEI. To view more of his work, please visit www.artistneilbrown.com .

This is Browns house and studio. The right side (the porch section) is the gallery and the rounded window above is his studio.

Canadian Brushstroke Magazine July/Aug 2008 7

T S LA

CALL FOR ENTRIES

! L L A C

All About Light Competition

4
All About Light - Artists
favorite subjects showing the results of light (or lack of it)

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

Competition No.

Subject

Medium

Two dimensional drawing or painting medium $15 each

(You can enter as many works as you would like)

$1000 CDN
plus an award certificate, but we also get a chance to see your work and we just may feature YOU in an upcoming issue of Canadian Brushstroke Magazine.

Entry Fee

Entry deadline

July 31, 2008

*Winners and finalists will be featured in the Sept/Oct issue of Canadian Brushstroke Magazine

RULES HOW TO ENTER

DIGITAL FILES ONLY Enter with high res digital file only on CD only. Do not send digital images via email to our offices - they will be automatically disqualified. 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 fill it out complete8 Canadian Brushstroke Magazine July/Aug 2008

ly. 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 files on the CD must be labeled as follows: lastname/firstname/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.

RULES HOW TO ENTER (CONTINUED)

ENTRY FEE/DEADLINE The DEADLINE for Canadian Brushstroke Magazine to RECEIVE entries is July 30, 2008. 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 qualified judges of our choosing. PERMISSION TO PUBLISH Signing and submission of the entry form, digital files 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 finalists will be notified by e-mail, and their work will be published in the specified edition of the magazine. The judges decisions are final. Canadian Brushstroke Magazine does not accept any liability for color variations that may occur as a result of different computer screens. The artists will always be properly credited.

E N T R Y F O R M

Phone number:

E-mail:

PLEASE WRITE VERY CLEARLY

Entry 1
Title: Title:

Entry 2
Title:

Entry 3

Medium: Size: (hxw)

Medium: Size: (hxw)

Medium: Size: (hxw)

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______________________________
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 confirmation that we have received your entry, enclose a self-addressed STAMPED postcard.

Address

Please PRINT name clearly

Postal Code

City/Province

Signature

Please mail this form and the properly labeled CD (see Rules - How to Enter) with properly labeled files to: Canadian Brushstroke Magazine, Box 3449, Leduc, AB, T9E 6M2
Canadian Brushstroke Magazine July/Aug 2008 9

EAST

(Ontario, Quebec)

RUE STE. LOUIS Pastel, 16 x 20

PASTEL PAINTING...
is in Quebec artists genes
Horace Champagne, grandson of pastelist Charles DeBelle, keeps exceptional pastel painting all in the family.

orace Champagne, from Ile dOrleans, QC, comes from art lineage. His maternal grandfather was Charles DeBelle and his mother studied at Beaux Arts in Montreal. His famous grandfathers paintings were exactly the opposite of mine - delicate and soft - and my mother and her sisters were often in his paintings. Champagne got his start in the art business in 1954 when he was 15 years old. He started as messenger boy
10 Canadian Brushstroke Magazine July/Aug 2008

in a commercial art studio in his native Montreal, QC. He worked his way up and became assistant to the salesman. He then moved on and worked with Rapid, Grip and Batten, a descendent of Grip Ltd., whose employees included Tom Thomson and other Group of Seven members. I was never really an artist (for the company). I was a salesman. Then I opened up my own business in Ottawa I was an agent. I sold design, folders...

LAKE OHARA, BC Pastel, 18 x 24

His start as an artist was when he was given a gift of a set of oil paints. I was painting strictly outside. I idolized Tom Thomson. I went to Algonquin Park and painted there. In 1972 he decided hed like to try dry pastels. I tried to work with them outside. Oils were messy and took time to dry. I found out pastels were the thing for me. He was encouraged by Roland Montpetit at Roland Gallery in Montreal. He said, I like your pastels. Your oils are okay but theres something really special about your pastels. Another gallery told him they liked his pastel paintings but they told him, Youre not ready yet. In the interim, he held a number of exhibitions in his home. In 1980 he thought he was ready to attempt getting a gallery to represent him. The prolific painter believed the only way for him to make a living painting was if he had at least five galleries. My head was probably way too large, he laughs. I had very little natural talent so I had to work very hard to learn as much as I could. He went to see Blair Laing in Toronto, who at that time owned one of the most respected galleries in Canada.

He kindly recommended me to his friend Emerick. So Champagne went to see if Emerick Kaspar at Kaspar Gallery in Toronto might be interested in his work. Kaspar did take his work and then referred him to some other galleries in Western Canada. Champagne decided that he had to take a trip there if he was going to have success. So I took off for about 10 days and went to Charlevoix (QC). I painted as many pastels as I could possibly do, (about 30), chose 20, and flew out to Calgary. He had researched Masters Gallery in Calgary and he was convinced that he had to be in that impressive gallery. Before being bold enough to talk to the gallery about his work, he thought hed visit the gallery and become familiar with it, leaving his work at the hotel room in the meantime. Peter Ohler Sr. (who owned the gallery at the time) approached him and started talking with him. When he found out that Champagne was an artist interested in being in the gallery, Champagne says Ohler gave him a hard time: You came all this way and didnt bring any of your art to show me? I wanted to see your gallery and meet with you first, Champagne told him.
Canadian Brushstroke Magazine July/Aug 2008 11

ABOVE: MOONLIGHT AND STARS, CAMP MERCIER, QC Pastel, 12 x 15 BELOW: SILENCE IN THE FOREST, CAMP MERCIER, PARC DES LAURENTIDES Pastel, 8 x 10

With a straight face Peter said, Fine, have a look around, and if you dont think my gallery is good enough for you, let me know. The gallery included and, to this day still carries, Group of Seven, Tom Thompson, and a wide selection of contemporary art. Ohler said to me, So Mr. Champagne, what is your decision? Good. Now, go back to your hotel, get your paintings and show me what you have. That started a friendship and business relationship that has lasted almost 30 years. Champagnes most recent exhibition was held in June at Masters Gallery, and there is never a time when there arent some of his pieces available in the gallery. But that wasnt the only success story during his trip. After Masters I drove to Edmonton and met with Hazel Hett and she purchased five pastels then I drove to Vancouver and met with Andy deVoot and he bought the balance (five) of the pastels. I left with three cheques in my pocket and I flew home. That was the beginning of his long and successful career as a professional artist. Champagne says its more difficult for artists starting out now. What I did, I dont think you could do today. Making cold calls to galleries rarely works - most require appointments in advance before artists can speak to anyone about their art. And, he says, Many artists hate to go into galleries because you have to give up 50 percent commission. I dont mind a bit, and I mean it. They invest that 50 percent with faith in you, then they promote you in all ways, give you shows, print invitations and pay for postage, purchase ads in newspapers, put you on their websites, keep those sites 100 percent up to date. The artist and the gallery in fact become a team. Youve got to be open and willing to go into a situation where you are a partner. Peter Ohler Sr. cant say enough about his partner. Hes become the finest pastel painter Ive ever seen. At the beginning it was more the individual that I clicked with than his art. Hes done extraordinarily well. Weve had sell-out shows many times. Hes known for his incredible depth of his pastels and amazingly accurate drawings. Rod Green, now a partner with Peter Ohler Jr. at Masters Gallery, says that over the years a tight relationship has been formed between himself and Champagne. Were very close friends. We travel together. He says Champagnes work has continually evolved, with the most recent change coming as a result of time he spends in NFLD. Its more colorful. Hes certainly brightened his palette. He says Champagne is regimented. He has a routine he sticks to religiously. Greens excited about a project that Masters Gallery is working on. They plan to publish a new book of Champagnes work and Green says it will be top-notch and very special. I think its overdue. Champagne has a studio at his home in Quebec and another at his home in Newfoundland. Both are separated from the homes and both have an upstairs and downstairs.

12 Canadian Brushstroke Magazine July/Aug 2008

RUE LAVAL, MONTREAL, QUEBEC Pastel, 12 x 15

He paints downstairs and has a library upstairs. He also stores his paintings on the upper level when they are complete. When he has a group of 10 or 20 paintings, hell do a final finish on them before they leave his studio. He works between two tables on his right and left that hold his multitude of pastels. In the studio I work standing up and I work at eye level, he says. I never stand still. His favorite brand of pastels is Sennelier because of the quality and because the brand has 545 colors. He also likes Girault brand and Unison pastels from Jack Richeson and Co Inc (USA). I only work in dry pastels. Sennelier card pastel paper is another favorite, coming in about 17 colors, says Champagne. It grabs the pastel. Its not like sandpaper that eats the pastel up. You can put one color on top of the other - probably five colors if youre not too hard. The color of the pastel paper is what beats out. They make the perfect backgrounds. One of the most beneficial things about pastel is not covering the paper. He says using pastel is painting with sticks of pure color. Its direct color to paper. Any color that Im looking for is there. I insist on drawing in with a light or medium brown. The

composition is really important. I draw it in pretty carefully. Once youve got the composition, the painting is practically done. I work all over the place. I dont mass in shapes. Thomson didnt mass in shapes, neither did Van Gogh, neither did Monet... The beauty of drawing it in is that you know exactly where your focal point is. You can save it for dessert. I try to show contrast, Champagne adds. And I do use black. It was good enough for Matisse so its good enough for me. He does a lot of his work outside, but when he is working in the studio, he works from his own photographs. Most of the time I dont use my fingers at all. As soon as you touch the pastel with your fingers, you push the pastel into the paper and you lose the crispness. At 70 yrs. old, he says hes slowed down a little. I used to do more than one painting a day for the first 10 years. One time Peter (Ohler Sr.) ordered a hundred paintings. Im down to a 60 a year, more or less. One of the reasons my quality increased was that Masters ordered so many paintings. If you want to succeed as an artist, says Champagne, Number one - produce work - get some mileage. Theres no excuse for not having a subject.
Canadian Brushstroke Magazine July/Aug 2008 13

Get outside. Thats a real challenge to paint outside. On rainy days, bring it inside. Paint from photographs its not against the law. Or set something up. Keeping your drawing skills fresh is important he adds. Try to sketch something everyday. Bring your sketch book into the coffee shop. Keep learning. I read, he says. He reads a lot about the Group of Seven (he says Thomson is the Van Gogh of Canada) and many other art topics. If you want to get into galleries, he advises artists to check them out. Get to know people in the gallery. Case the joint. Dont let them know youre an artist right away, he suggests. Go there three, four, five times. Youll see what they like. When youve decided to seriously pursue being in a particular gallery, Champagne emphasizes that you must have work ready! HORACE CHAMPAGNE was educated in Montreal at Ecole des Beaux-Arts, in Ontario at Ottawa School of Art, in the USA with Charles Movalli in Rocky Neck, Mass., and Daniel Green in North Salem, New York. He learned the basics for outdoor painting and from painting from live models with Daniel Green. His work can be found in Masters Gallery Ltd. in Calgary, AB; Galerie dArt Vincent, Ottawa, ON; Balzac Fine Arts, Toronto, ON; Galerie dArt Yvon Desgagnes, Baie St-Paul, QC; and Peter Ohler Fine Arts, Vancouver, BC.

THE COLOURS OF MY STUDIO Pastel, 23.5 x 31.5

Wed like to introduce our new Account Representative for British Columbia and Senior Accounts, Barry Strasbourg-Thompson, BFA. Barry would love to help you with any of your advertising needs. In addition to his Fine Art degree from the University of Ottawa, Barry has many years of art industry sales experience in the retail art supply, gallery, picture framing, fine craft, photographic, reproduction, studio, artist run centre, Federal, Provincial, Municipal, First Nation and art education markets. He also has extensive print and advertising experience. He can provide expert options, advice and service to meet your national and local advertising requirements. Canadian Brushstroke Magazine benefits 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, difficult to achieve in a usual website format. Free subscriptions to our more than 10,653 subscribers (many forward it to their own mailing list for increased readership.) Tracked readership, because we require subscription information. Each issue features at least one story 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. Editorial news tidbits, information on shows, competitions, events, classifieds and more.

E-mail: barry@brushstrokemagazine.com Phone (BC) 250-246-8228

14 Canadian Brushstroke Magazine July/Aug 2008

Cindy Revell

Johnson Gallery

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

Susan Abma
Canadian Brushstroke Magazine July/Aug 2008 15

ABOVE: FRUIT SQUARES: JAM AND MARMALADE Oil, 12 x 12 each BELOW: DEUX OIGNONS ESPAGNOLS Oil, 24 x 24

Still life artist

fell backwards
into art career
Daniele Lemieux took the long way to get to her goal of being fine artist but has found that her design training has been beneficial to her painting style.

dont come from a long line of artists, says Daniele Lemieux of Montreal West, QC. I fell into it backwards because I never knew any real artists. I think my parents didnt know quite what to do with me. They kept giving me Barbies and I wanted construction paper. Since art was considered more of a hobby than an occupation, Lemieux says, I went to design school. We still had lots of classical subjects. We studied sculpture, figure drawing...

16 Canadian Brushstroke Magazine July/Aug 2008

A CUPFUL OF CHERRIES Oil, 18 x 18

It was the closest I could get to being an artist but still survive. It has proved beneficial, however, as Lemieux says the design background has influenced her clean style as a fine artist and the experience gained in being in business for herself serves her well as a professional artist. For many years, she says, I had wonderful jobs and wonderful clients. But after 15 years, I found it wasnt feeding me enough creatively. It was then, through a series of events, that she decided to stop working in design and became a full-time fine artist. She had been taking courses at a local art school and was thriving on being more of an artist than designer. A particular influence in her painting career was a man who was in one of her classes at the art school. They had become friends and he frequently asked if he could buy one of her paintings. She told him he didnt have to buy one, she would give him one. He insisted that he had to buy one. A little later, she found out that he was one of the executive directors of the Montreal Museum of Fine Arts. He had never shared that with her. When she next talked to him,

she says he told her that it was time to quit her day job. I was blown away. When someone who knows what theyre talking about tells you that, I figured I should give it a shot. And Ive never looked back. Although she has worked in many mediums and has painted a wide variety of subject matter, she now paints in oils and does still life work. I like to be able to hold things and also, if I cant be there, I cant paint. She says that in the past she liked doing rural landscapes, but since shes not near a rural area, that presented challenges. Ive never been successful painting from pictures. Plus, she says, laughing, I dont like bugs in my paint. When I started to work full-time, the progress in my painting was amazing when I was painting every day. For a while there, it was very exciting (honing her skills). Lemieux paints out of her home studio. She describes it as my comfort zone. My cave. I can put in long hours, I can look at my work in the middle of the night. A self-diagnosed workaholic, she says she doesnt have any children - just her husband and her dog - so she is able to concentrate many hours on her work.
Canadian Brushstroke Magazine July/Aug 2008 17

I live in a big, old Centennial house. I work in two rooms on the second floor. One is my studio that has natural light, which I immediately blocked out with black-out curtains (She likes controlled lighting). The other room is my office where I keep work in various stages of drawing. Theres lots of books and lots of work hanging around. I like to varnish my paintings, so I keep them for six months. Before varnishing and sending them to any of her galleries, she re-evaluates them at that six-month mark to ensure only the best work is getting delivered. Lemieux loves the nature of oil paint. I like the way it handles. Its got some drawTWO NECTARINES Oil, 18 x 24 backs, one of them being the drying time. But the longer drying time means she can manipulate the paint in a way the other mediums dont allow. She uses Stevenson and Winsor & Newton artist quality paints. Her typical palette includes: Titanium and Zinc White, Cadmium Yellow Light, Cadmium Red Medium, Alizarin Crimson, Cobalt Blue, Raw Umber and Paynes Gray. She occasionally substitutes Ultramarine for Cobalt and can add Yellow Ochre, Cadmium Yellow Deep and Burnt Sienna. She paints with brights, preferring Heinz Jordan brushes, usually working with brushes between a half-inch and two inches wide, occasionally using a small round for finer details. The brights are her favorite because, I like the square marks that they leave. The average size of her paintings is about 22 x 28 inches. She used to work a bit larger but nowadays, I ship 99 percent of my work and its easier to ship the smaller sizes. Before painting, Lemieux sketches her composition, then she says she draws the image on the canvas with her finger to mentally ensure shes happy with the composition before finally drawing it on the canvas in charcoal. I try to be pretty accurate with the size and have things where I want them. Otherwise, I like to paint so much that I sometimes jump the gun. She usually has two or three paintings in the works and likes to leave them sit for a day or two after drawing so that she can determine if shes happy with the overall look and feel. In the average year she completes about 80 paintings, doing at least one per week which she posts on her blog: http://paintingoftheweek.blogspot.com . A 12 x 12 inch Lemieux painting sells for approx. $700. and a 24 x 36 inch for about $2500. When asked about what advice she might give other artists about embarking on a full-time career, she says I have some excellent galleries now, but I wish I had worked in a gallery for a year or two to learn the business first.
18 Canadian Brushstroke Magazine July/Aug 2008

DANIELE LEMIEUXs work is in Agnes Bugera Gallery in Edmonton, AB; Galeries Beauchamp, Quebec City, QC; Gallery Gevik, Toronto, ON; Jenkins Showler Gallery, Vancouver, BC; and Wallack Galleries, Ottawa, ON. To view more of the artists work go to: www.danielelemieux.com .

Perfect for elementary schools, resident & day camps, youth groups, child care facilities.

Six totally different art projects, each with all the necessary supplies, instructions and samples to help you teach children how to create their own masterpieces. Classes available for 10, 20 or 30 young artists. Many of the supplies can be reused for future projects and restocking of used items is available. All projects follow the current elementary school curriculum.

CLASSES AVAILABLE:
Plaster Mask Making Kit (Each artist will make a timeless memory of their own face!) Sculpture Fun (Embellish a picture frame with relief sculptures!) Drawing Exercises (Over 6 different drawing projects!) Sticky Art Fun (Using adhesive colored shapes, create a stained glass effect!) Foam Printing Kit (Make custom greeting cards and lots more!) Learning about Colour (3 Exercises to learn how to mix colours)

Sold exclusively through:

Artra Art Supplies Co. Ltd.

For prices and more information, please call toll free at

1-866-ART-8500
Canadian Brushstroke Magazine July/Aug 2008 19

HEFFEL FINE ART AUCTION HOUSE

...Leading the way with first live auction of Canadian Post-War and Contemporary Art...
20 Canadian Brushstroke Magazine July/Aug 2008

Heffel will hold its inaugural live auction of Canadian post-war and contemporary art Nov. 19 at the Queen's Park Ballroom of the Park Hyatt Hotel in Toronto. Heffel's will be the first auction house in Canada to hold twice annual live sales devoted to Post-War & Contemporary Art. David Heffel, President of Heffel Fine Art Auction House says, "As a result of Heffel's prior commitment to developing the secondary auction market for Canadian post-war and contemporary art, and continuing with our success in this exciting and rapidly expanding market, Heffels is pleased to be the progressive auction house to dedicate an independent live auction forum to this market." Heffel's sees the post-war and contemporary market as distinct in nature from that of the Canadian Early Modern market of 1900 to 1940 and the Canadian 19th Century historical market. Two catalogues will be produced for each sale, Fine Canadian Art and Canadian Post-War And Contemporary Art. This references global art sales, whereas the Fine Canadian Art catalogue consisting primarily of the Canadian Impressionists and the Group of Seven would be the equivalent of the Impressionist and Modern Art sales in New York, and Canadian works post-1945 will be offered in the Post-War and Contemporary catalogue. Nina Kim, Director of Heffel's Post-War And Contemporary Art department says, "Heffel's is pleased to acknowledge the two facets of the market and to devote separate catalogue sales for each, referencing global sale schedules. The postwar and contemporary market has become a formidable force worldwide and Heffel's endeavors to gain recognition for important Canadian artists of this period, as they are undervalued in relation to their international counterparts." Robert Heffel says Heffel's is the industry leader in this field, having already begun to conduct Canadian Post-War sales in their online auction systems every September and March. He adds, "This is a natural progression for our business, and with the changing demographic of the Canadian collector it will be interesting to watch the growth of this segment of the market."

Anne McCormick Susan Abma

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

Cindy Revell

Susan Abma

Canadian Brushstroke Magazine July/Aug 2008 21

CENTRAL

(Nunavut, Saskatchewan, NWT, Manitoba)

BRENDA CORNWELL WITH GABE.

Artist donates ALL her art for two great reasons

Brenda Cornwells twin grandsons were born with Cystic Fibrosis. They are the motivation behind her paintings and behind the donation of all the proceeds of her art to help support further research.
hree-and-a-half years ago, Regina, SK artist Brenda Cornwell had twin grandsons born with the fatal disease Cystic Fibrosis (CF). One of the twins, Gavin, died from the disease at only six-and-a-half months old. The other twin, Gabriel, known as Gabe, is now three-and-a-half years old. He has to take enzymes with everything he eats, and he does physiotherapy several times each day to keep his lungs clear and has to do physio even more often when hes not feeling well. When hes healthy, hes very healthy, says Cornwell. But he can go from one extreme to the other within a day or two. Cystic fibrosis affects the lungs and digestive system. A defective gene and its protein product cause the body to produce thick, sticky mucus that clogs the lungs and leads to life-threatening lung infections, and obstructs the pancreas and stops natural enzymes from helping the body break down and absorb food. Since the twins were born, Cornwell has been driven to help the Cystic Fibrosis Foundation raise funds for research to help Gabe and others with the disease. Shes doing it with her time and her art. She donates 100 percent of the proceeds from her art to the Foundation.

22 Canadian Brushstroke Magazine July/Aug 2008

In addition to creating the art and donating it, she spends her time organizing an annual event to sell her works and the works of other generous artists who donate all or a portion of the proceeds from their art sales to CF. The Cystic Fibrosis Gala Art Show is held at the Willow on Wascana Restaurant in Regina. The restaurant closes to its restaurant customers for the afternoon to host the show and donates gourmet food, wine and beer. Corporations donate door prizes and send representatives to purchase art. Tickets for the event are $35, and $33 of each ticket goes to support CF as well as the proceeds from the art. This years event will be held Sept. 14. The first year show they sold out all 75 tickets. The second year they added a small tent which allowed them to have COPYRIGHT another sold-out show of 125. We have had to turn people away at the door who came without tickets hoping to attend the SKIING IN WASCANA PARK Acrylic, 16 x 20 show. This year A1 Rentals has donated the use of a larger tent allowing them to sell years. She produces as many paintings as she can (14 165 tickets. They are expecting another sold-out show. last year) while still working (teaching art) and also volunOther artists involved who are donating all or a portion of teering her time to co-ordinate the art show and another the proceeds from their art sold at the show include event for CF: The Great Strides Walk. Saskatchewan artists: Beryl Arnold, Natasha Bogdasavich, The paintings are sold for fair market value at the show, a Riannon Braumberger, Michael Bromley, Jane Bueckert, practice that is popular with the companies that support the Vic Cicansky, Jack Cowin, Terry Fenton, Ladd Fogarty, show. Many companies send representatives to purchase Marcia Frid, David Garneau, Hossein Ghani-abadi, Jack paintings in support, says Cornwell. I was very pleased Gravener, Catherine Grimstad, Donna Kreikle, Laura Kuz, that The Co-operators bought two of my paintings. They Yvonne Kydd, Wee Lee, Bonnie McBride, Shelley are a wonderful sponsor of visual arts in Saskatchewan. McGillvray, Val Moker, Ann Noble, Catherine OByrne, Wilf Although Cornwell used to do a lot of oil painting, she Perrault, Jason Robins, Jack Sures, Helene Tremblay, paints mainly in acrylics now because of allergies and Wendy Winter, Bernie Zaharik, Helen Zaharik, Fran Zerr health issues. and BC artist Caleb Speller. Her paint brand of preference is the professional line from They all do it in hopes that research will help people who Colours. Theyre a really good value and I find them comhave CF. parable to other brands. The part thats been encouraging for me is that theyve Im passionate about my painting and I can paint for 10made tremendous strides with this disease, says 12 hours in a row. With oils I had 3-5 canvases on the go Cornwell. so I didnt have to take a break. Now with acrylics I never She knows of several people with CF who are now in work on more than two at a time. With the quicker drying their 20s. Their parents had been told not to expect them medium, she rarely has to stop to let parts dry before to live past about 12 yrs. old. Cornwell says there are adding more layers. about 1000 different mutations of the disease. Those with Ive always loved painting but Ive always put it a little bit less severe mutations have been known to live into their on the back burner because of my obligation to my stu40s and a few have even lived into their 50s. dents (helping them learn rather than working on her own Unfortunately, there are still lots of young people who do pass away from the disease. I often say that were trying to pieces) and my obligation to my family. Now, to make life a little better for my grandson, I have earn money for research to find a cure or life-extending my goal and thats what keeps me motivated to spend as medication to have a healthier life and longer life span. many hours as I can on my painting. All of Cornwells paintings depict the theme: The Joys of Brenda Cornwell received a B.A and B.Ed with distinction Life. Im hoping that by painting these pieces of art, my grandchild and others who have Cystic Fibrosis can experi- from the University of Saskatchewan, majoring in visual arts. She teaches art at Nancy Campbell Collegiate ence the joys of life. Thats very important to me. Institute in Regina, SK. Cornwell has been donating her art for the past three
Canadian Brushstroke Magazine July/Aug 2008 23

Get outside and paint!

The Banff Easel
(Canadian and USA patented)

SIT ON IT! STAND BY IT!

Watercolors, acrylics, oils, pastels, drawing and more! And when youre finished, pack all your supplies together and roll it home! Made of strong Canadian Fir, this unique easel allows the artist the choice of sitting or standing while doing their artwork. The handy storage compartment holds all necessary supplies and the detachable wing tables make for easy access to your mediums while you work. Adjustable front leg allows for accurate balance on uneven ground and tested for individuals up to 250 lbs.

Sold exclusively through:

Artra Art Supplies Co. Ltd.

For more information, please call toll free at

PERFECT FOR BOTH INDOOR AND OUTDOOR USE!

Each $350.00 Canadian (+gst + S&H). Please allow 6-8 weeks for delivery.

1-866-ART-8500
Pictured below: Canadian artist Jack Ellis demonstrates the Banff easel

24 Canadian Brushstroke Magazine July/Aug 2008

WEST (Yukon, Alberta, B.C.)

CANADIAN INSTITUTE OF PORTRAIT ARTISTS

44 selected artists compete for Awards of Excellence in 2008 National Exhibition

orty-four artists were juried into the Canadian Institute of Portrait Artists 2008 National Open Exhibition to run Aug. 5 until Aug. 29. Jeffrey Spalding, CM, RCA, President and CEO of the Glenbow Museum juried submissions from artists across Canada and selected 59 paintings, drawings and sculptures for the exhibition. The event will be held at the Gallery at Alliance Francaise in Calgary, AB this year. The 44 artists showing in the exhibition include: Susan Abma, Silviu Bejan, Antonio Bergier, Roberta Combs, Lyse Deselliers, Sava Djordevich, Mary-Leigh Doyle, Christa Drinnin, Elana Goodfellow, Janine Hall, Kate Hansen, Jean MillerHarding, Paula Hawkes, Karen Heit, Katy Hildebrandt, Jeri-Lynn Ing, Geoffrey Jamieson, Margit Kadosh, Charles Keillor, Alison King, Rolf Krohn, Dongmin Lai, Antonia LanikGabanek, Maria Miranda Lawrence, Janey (Thien) Luc-German, Roger Luko, Bonny MacNab, Karen Martin Sampson, Isabelle Masse, Linda McEachern, Jean Pederson, Riita Peirone, Tatjana Mirkov-Popovicki, Darcy Presiloski, Leslie Redhead, Karin Richter, Jack Rigaux, Jane Romanishko, Aaron Sidorenko, Judy Trafford, Joe Versikaitis, Craig Wall and Iryna Zayarny. The Canadian Institute of Portrait Artists (CIPA) was formed in 1999 by 16 well known Western Canadian portrait artists. Continued on Page 26

COPYRIGHT ABOVE: Framer King by Janine Hall BELOW: Solitude by Sava Djordevich

COPYRIGHT

Canadian Brushstroke Magazine July/Aug 2008 25

news & information

BRITISH COLUMBIA
Elliott Louis Gallery (Vancouver), Until July 19: Virginia Ivanicki-Strell's The Architects of Heaven series. ....................... Winsor Gallery (Vancouver), Until July 20: A selection of award-winning art from the 2008 Emily Carr University graduates, and by acclaimed New Brunswick artist Raymond Martin. ....................... Campbell River Art Gallery, Until Aug. 8: George Littlechild's 'Red & White - Chapter 2.' His images, based upon his own roots and well-known personalities like Canadas aboriginal poet Pauline Johnson, are a blend of digitally manipulated photographs and paintings. ....................... McIntosh Gallery (London), Until Aug. 10: An exhibition of new acquisitions. Among the artists represented are John Boyle, Greg Curnoe, Joseph Hubbard, Doug Mitchell, Thelma Rosner, and Montreal artist John Schweitzer. One new addition is Homage to George and Everybody Else 1967 by former London artist John Boyle, an example of the artist's early constructed paintings with a whimsical mixture of Canadian icons and references to his own life. ....................... Kamloops Art Gallery, Until Aug. 31: 'The Drawings and Paintings of Daphne Odjig: A Retrospective Exhibition' comprises 58 works, including examples of Odjig's history paintings, murals, legend paintings, erotica, abstractions and landscapes. ....................... West End Gallery (Victoria), Until Sept. 30: 12th Annual Canadian Glass Show. Approximately 60 participating artists.

COPYRIGHT Anticipation by Tatjana Mirkov-Popovicki Continued from Page 25 It is dedicated to the advancement of portraiture by encouraging the practice, appreciation and education of portraiture. CIPA members have gained national and international recognition for their achievement of excellence in portraiture. Some of CIPA artists have been commissioned to paint portraits of prominent national and international figures. A few notable portraits from Canadian Institute of Portrait Artists members include: Kim Campbell - Prime Minister of Canada by David Goatley; Pierre Elliott Trudeau Prime Minister of Canada by Myfanwy Pavelic; William Heir to the Crown by Bernard Poulin, and Jean Chretien Prime Minister of Canada by Bernard Poulin.

ALBERTA
Whyte Museum (Banff), Until July 27: Pottery and wildlife, floral and landscape paintings by Erica Neumann, Elizabeth Wiltzen, Sarah Kidner, Lucie Bause, Janis Allan-Hare, Catherine Hardie-Wigram, Colin Bell and Priscilla Janes. ....................... Art Gallery of Alberta (Edmonton), Until Sept. 21: FACE THE NATION features the work of eight contemporary Aboriginal artists from across Canada. Their works address issues of history, representation and identity, and the role that art plays in creating, reinforcing and undermining myths and stereotypes of people and cultures.
26 Canadian Brushstroke Magazine July/Aug 2008

GALLERIES:
HAVING A SHOW AND WANT US TO CONSIDER COVERAGE? SEND US A PRESS RELEASE TO info@brushstrokemagazine.com

Tracey Mardon

Margaret Klappstein

Pat Elzinga

Johnson Gallery
7711 - 85 St., Edmonton, AB 780-465-6171 www.johnsongallery.ca Susan Abma
Canadian Brushstroke Magazine July/Aug 2008 27

news & information

SASKATCHEWAN
The Dean Gallery (Yorkton), Until Aug. 27: Saskatchewan Flame, an exhibition of pottery and ceramic art. 20 Saskatchewan artists using traditional wood-fired kilns. ....................... Mackenzie Art Gallery (Regina), Until Sept. 21: Wally Dion and Allen Sapp. Saskatoon artist Dion will be showcasing portraits from his Red Worker series and his new Starblankets. Dion uses the techniques of social realism to discuss First Nations class struggles in modern Saskatchewan life.

ONTARIO
Roberts Gallery (Toronto), Until Spet. 19: 14th annual Sketches exhibition highlighting landscape artists. The exhibition covers all three floors of the gallery and features examples of oil, watercolour and drawing sketches by the Group of Seven, their contemporaries and generations of landscape painters that have followed.

MARITIMES
Art Gallery of Nova Scotia (Halifax), Until Sept. 1: Tom Forrestall: Paintings, Drawings, Writings. The collection of approximately 60 paintings, drawings, and journal sketchbooks, including significant works from all periods of the artist*s production, chronicle the artist's observation and exploration of his surroundings. Forrestall is one of the leading figures associated with painting in the Maritimes. He is well known at an international level and has exhibited worldwide. Prince of Wales Northern Heritage

A NEW BRAND IS BORN!

Following the closing of the Rising paper mill, Woolfitts have been working with mills internationally to replace the Rising papers and boards. We have successfully done this and we are pleased to announce that Maidstone Fine Art Paper and Museum Mounting Board is now in stock! After receiving feedback on the quality of our new product from printmakers and illustrators, the consensus is that Maidstones handling is superior in every way. Paving the way for Maidstone exclusivity in North America and Europe!

MANITOBA
Art Gallery of Southwestern Manitoba (Brandon), Until Aug. 9: Ruth StewartLooking at Earned Beauty. An exhibition of abstract paintings that are a response to the hand-me-down stories of farm women, both past and present. ....................... Winnipeg Art Gallery, Until Aug. 17: Cree artist Kent Monkman: The Triumph of Mischief.

ONTARIO
Abbozzo Gallery (Oakville), Until July 20: 'OSA in the GTA.' Five galleries in Oakville have partnered with the Ontario Society of Artists to exhibit work by their members. Featuring new work by painters Bruno Capolongo, Elaine Clarfield-Gitalis, Ron Eady, Heather Horton, Lila Lewis Irving, Shirray Langley and Janice Mason Steeves and sculptors Mary Ellen Farrow and Judith Graham. ....................... Michael Gibson Gallery (London), Until July 26: Melanie Authiers new abstract paintings are layered with intense combinations of colours. Authier has mixed deep blues with acid yellows, neon pinks and rich purples to create a wonderful depth of space.
28 Canadian Brushstroke Magazine July/Aug 2008

NORTH
Centre (Yellowknife, NWT), Until Nov. 30: Traveling exhibition 'Arctic Quest.' Original paintings by 25 artists who paint the High Arctic. They include Robert Amirault, Kim Atkins, Anthony J. Batten, Heidi Burkhardt, RoseMarie Condon, Paul Gauthier, Kathy M. Haycock, Sandra Henderson, John Joy, Ana Jurpik, Jack Koca, Margaret Ludwig, Linda Mackey, Rhonda McDonald, Karole H. Pittman, John Stuart Pryce, Val Russell, Brigitte Schreyer, Gerald Sevier, Maurice Snelgrove, Lynn Soehner, Andrew Sookrah, Mary Wagler, W. David War and Spencer Wynn. In July 2006, these artists marked the 100th anniversary of Roald Amundsen's navigation through the Northwest Passage with this journey of their own.

www.woolfitts.com

NATIONAL Five artists vie for $50,000 Sobey Award

he shortlist for the 2008 Sobey Art Award was released recently, naming five exceptional Canadian artists contending for the $50,000 2008 Sobey Art Award.

The five finalists include: Tim Lee, West Coast and Yukon region; Daniel Barrow, Prairies and the North region; Terence Koh, Ontario region; Raphalle de Groot, Qubec region; Mario Doucette, Atlantic region The Sobey reminds us all, curators and casual viewers alike, that Canadian artists are at the forefront of defining our communal identity and envisioning our cultural values, says David Moos, Curator of Contemporary Art, AGO and member of the 2008

Curatorial Panel. Selected work from the shortlisted artists will be featured in an exhibition hosted by the Institute for Contemporary Culture at the Royal Ontario Museum and will run from August 30 to October 13 of 2008. The 2008 Sobey Art Award shortlist is very strong and the works produced by this group will certainly make for an engaging and dynamic exhibition, where we will all be able to celebrate the artistic talent of young Canadians, says Ray Cronin, Acting Director and Chief Curator Art Gallery of Nova Scotia. I am very much looking forward to working with all five artists this fall." The winner of the 2008 Sobey Art Award will be announced during a gala event at the Royal Ontario Museum on Oct.1, 2008.

WINNIPEG ART GALLERY and BOEING CANADA Celebrate Unique Arts Program For The Deaf

his year marks the 10th anniversary of Sign for Art, a partnership between the Winnipeg Art Gallery (WAG) and Boeing Canada. In 1998 Boeing approached the WAG with the idea of developing an art program for young students of the Manitoba School for the Deaf. We have a substantial number of deaf and hard of hearing employees at Boeing, and we wanted to offer a unique program to young members of the deaf community, says Terry Trupp, Boeing Communications Specialist and Global Corporate Citizenship Representative. Sign for Art offers the students a regular opportunity to get out into the community, visit the WAGs exhibitions, work with artists, and develop their own creative skills. Sign for Art has been a huge success for our students, providing them with the opportunity to further develop their imaginations using unique ways to express their ideas, says Brenda McDaniel of the Manitoba School for the Deaf. It has become a wonderful supplement to the art activities we currently have available. The staff at the Winnipeg Art Gallery have demonstrated a commitment to provide top quality instruction. We appreciate the dedication the WAG and Boeing have shown to this program. Michael Boss, Head of Studio Programs, says, Many of the students keep coming back year after year, so weve had the great opportunity to see them grow and develop their skills. They have learned to experiment and have become more fluent in their visual expressions over the years. Some of our instructors have been with Sign for Art from the start of the program and have picked up some sign language themselves. We have learned about the deaf community and they have learned about the art community. Its a great learning experience for everyone.

Canadian Brushstroke Magazine July/Aug 2008 29

the last word...

classifieds
Call for Submissions
"Planet Earth", a juried Alberta-wide Open Exhibition hosted by the Alberta Society of Artists at the Leighton Centre, Calgary in the spring 2009, deadline Nov. 30, 2008. Forms may be downloaded at www.artists-society.ab.ca .

s you read this issue I am excitedly planning my trip to Newfoundland in August. It will be a three-week trip, with two week being spent painting on Change Islands in northern NFLD. A handful of artists will be going on this trip and I hope to share some of the field paintings with you in an upcoming issue. I have filled this summer with a great deal of plein aire painting, some of which I'll use as studies for future studio paintings. I have been privileged to paint in several Canadian provinces this year (no territories as yet - I can only hope). Experiencing Canada's diversity of landscape has been an exceptional pleasure and I feel truly blessed to have good health and the ability to do it. If you are a painter and haven't tried pleine aire yet, I highly recommend making several good attempts. The lessons learned from painting on-site cannot be learned in a studio and will alter translate into many advantages, some of which can include: more confidence that can result in being able to paint as well or better but with increased speed, a better understanding of light and shadow, an increased knowledge of your subject matter,.... The list can go on and on. You don't have to be a landscape painter to paint pleine aire. You can paint buildings, children on a beach or in a playground, people walking, dumpsters, bridges, or whatever you particularly love. Step out of your comfort zone a time or two and see if it works for you like it has worked for many generations of artists. My recommendation though? Wear a hat!

TO BOOK YOUR CLASSIFIED AD:

sales@brushstrokemagazine.com

CLASSIFIEDS RATES:
Word ads/listings - $50 for 50 words. $1 each additional word.

DISPLAY CLASSIFIEDS:
$40. per col. inch 1 column = 1.75

TO SUBSCRIBE: www.brushstrokemagazine.com
Click on Free Subscription and fill out the form for access to issues of the magazine.
Canadian Brushstroke Magazine is free to anyone involved in the art industry in Canada. Whether you are an artist, gallery owner, curator, collector, art supplier, etc., feel free to ask us for your free subscription. We hope youll support the advertisers within the magazine, because their advertisements allow us to give you this product at no cost to you. Contact us anytime at: info@brushstrokemagazine.com Website: www.brushstrokemagazine.com
30 Canadian Brushstroke Magazine July/Aug 2008

TO ADVERTISE: barry@brushstrokemagazine.com or sales@brushstrokemagazine.com STORY IDEAS: editor@brushstrokemagazine.com

(Please do NOT send unsolicited articles. Contact us first to see if it will suit our coverage. Thank-you)

Ph. 780-986-0789 Fx. 780-986-8393