Indigenous arts

Work of the Week: "Sunset on Boot Hill" by Delia Cross Child

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This week’s Work of the Week is "Sunset on Boot Hill" by Delia Cross Child.

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This week’s Work of the Week is Sunset on Boot Hill by Delia Cross Child.

Cross Child’s acrylics, such as Sunset on Boot Hill, are stunning evocations of colour that might be mistaken as psychedelic by anyone who had never witnessed the rolling prairies of southern Alberta. Her landscape scintillates with reds, ambers, and blues that rise like smoke into a sky aflame.
 

About the Artist: Delia Cross Child

Delia Cross Child is a Blood and Peigan artist and teacher who fuses historical and contemporary art traditions of Turtle Island and Europe to inspire her communities and educate the public about First Nations issues.

Born in Pincher Creek and raised in an one-child family on the Peigan Reserve at Brocket, Cross Child was fascinated by the landscape and its changing seasons, whose mountain-view hills and Old Man River valley she explored with her parents and siblings. The experiences became foundational to her later paintings; she describes “a performance… of ever-changing colour, sight, and sound” that was “only a part of the territory that… the Blackfoot Confederacy… had occupied for a long time. [It was] a place of solace during the times when my world appeared to be chaotic and confusing,” a world whose legacy included the mass-trauma of forced assimilation, residential schools, and “hunger, sadness, and abuse.”

Cross Child later attended the University of Lethbridge where she earned her B.A. in Art and Native American Studies (1996) and her B.Ed. in Art (2002). To motivate her students at Kainai High School on the Blood Reserve near Standoff, Alberta, she integrated traditional visual literacy into her teaching

Cross Child’s work has been exhibited at the Glenbow Museum, Walter Phillips Gallery, and Southern Alberta Art Gallery, and lives in the public collections of the University of Lethbridge, the Blood Tribe Administration, and the Glenbow Museum. Cross Child has received several academic and art awards, including membership in the University of Lethbridge’s Alumni Honour Society (2009), the Blackfoot Fine Arts Award (2008), and the Gerald Tailfeathers Art Scholarship (1996).

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Artist
Delia Cross Child
Title
SUNSET ON BOOT HILL
Year
1997
Medium
Acrylic
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Work of the Week: "Mind Over Matter" by Alex Janvier

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This week’s Work of the Week is "Mind Over Matter" by renowned Indigenous artist Alex Janvier.

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This week’s Work of the Week is Mind Over Matter by renowned Indigenous artist Alex Janvier.

This past Wednesday, September 30, was Orange Shirt Day – a day to honour residential school survivors and victims. In Alberta, there are about 12,000 residential school survivors and their families, including Alex Janvier.

About the Artist: Alex Janvier

Alex Janvier was born on the Le Goff Reserve, Cold Lake First Nations, Alberta, in 1935. He was raised in the Chipewyan tradition until he attended the Blue Quill Residential Indian School at the age of eight.

Janvier graduated with Honours from the Alberta College of Art in 1960 and since then has built an international reputation as a painter, muralist and printmaker. He has influenced a younger generation of native artists through his paintings and advocacy work with arts organizations and land claim committees.
 

His imagery is a combination of traditional native decorative motifs such as medicine wheels, floral designs and symbolic colour combinations. In the late 1980's and early 1990's, his work became more representational and concerned with specific social and political issues.

Janvier has been the recipient of many accolades throughout his career. Since 2007, he has received honourary doctorates from both the University of Calgary and the University of Alberta, was appointed to the Order of Canada, received a Governor General's Award in Visual and Media Arts and was the first ever recipient of the Marion Nicoll Visual Arts Award from the Alberta Foundation for the Arts.

Alex Janvier continues to live and work in Cold Lake.

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Artist
Alex Janvier
Title
MIND OVER MATTER
Year
2008
Medium
ACRYLIC
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Work of the Week: "Making Faces" Heather Shillinglaw

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This week’s Work of the Week is "Making Faces" by Métis artist Heather Shillinglaw.

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In honour of Métis Week (November 15-21), this week’s Work of the Week is Making Faces by Métis artist Heather Shillinglaw.
 

About the Artist: Heather Shillinglaw

Heather Shillinglaw graduated in 1996 from the Alberta College of Art and Design (now the Alberta University of the Arts).

Her mixed-media work explores the bridging of cultures as she has experienced it as a Métis woman and as a traveler to other territories and countries. She is intrigued by the "similarities and differences" between cultures, something that her own heritage allows her to access more readily. In 1993, Heather partnered with National Film Board and Women of the Métis Nation using a film Daughter of the Country Series to create new works.

She is represented in numerous public, private and corporate collections and is an active member of several Métis organizations including Women of the Métis Nation. She has exhibited extensively around Alberta over the past ten years.

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Heather Shillinglaw
Title
MAKING FACES
Year
2000
Medium
acrylic, oil, pastel collage
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Work of the Week: "Ancestor" by Florence Shone

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This week’s Work of the Week is "Ancestor" by Indigenous artist Florence Shone.

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This week’s Work of the Week is Ancestor by Indigenous artist Florence Shone.

About the Artist: Florence Shone

Florence Shone is a mother of two and self-taught artist who uses acrylic and canvas as her medium.
 

She is originally from the Piikani Nation in southern Alberta, but has resided in Edmonton most of her life. She has a degree in Native Studies from University of Alberta in Edmonton. 

Shone says that she has always been an artist. She began drawing at an early age, but it was only when she was almost finished university that she took an art class and learned that painting allows her to visually express and release her emotions onto canvas. Subjects include Blackfoot people from archival photographs, portraiture, landscape work and other intuitively created pieces.

She regularly participates in local exhibitions in Alberta and has had work on display at the Royal Alberta Museum.

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Florence Shone
Title
ANCESTOR
Year
2000
Medium
ACRYLIC ON PAPER
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National Indigenous Peoples Day 2022

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June 21 is National Indigenous Peoples Day. Discover the diverse culture, events, arts and artists of First Nations, Métis and Inuit in Alberta.

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This year, National Indigenous Peoples Day also coincides with Summer Solstice on June 21. It is a great way to celebrate the unique culture and achievements of the First Nations, Métis and Inuit peoples of our country.
 

During National Indigenous Peoples Day and June's National Indigenous History Month, explore:

About the artwork:

Poitras enjoys working in a variety of media including painting and mixed media collages that incorporate historical and contemporary symbols, newspaper clippings, and painted elements. In her work, 'Legacy of a Liberated Culture', she uses mixed media to create a colorful collage to highlight her diverse culture.

View the artwork in Augmented Reality. And click on the pink 'AFA virtual museum' below to discover other artworks by Poitras from 1984 to 2019.

About the Artist:

Jane Ash Poitras was born in the northern Alberta Cree community of Fort Chipewyan. Even though it was recommended for her to pick another career, as it was perceived it would be impossible to make a living as an artist, her resiliency helped her achieve a successful career. 

She has garnered her many accolades and achievements through her career, including being a recipient of:

Image description

Multi-color images of an Indigenous person wearing a black and red feathered head dress, brown dog-like animal, yellow and red bird-like animal, black and red and turquoise abstract faces, and various black and white historic symbols. Four tipis with various colors including brown, yellow, whilte, red, green, blue and pink are at the bottom of the painting.

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June 21 is National Indigenous Peoples Day. Discover the diverse culture, events, arts and artists of First Nations, Metis and Inuit in Alberta.

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June 21 is National Indigenous Peoples Day. Discover the diverse culture, events, arts and artists of First Nations, Metis and Inuit in Alberta.

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Artist
Jane Ash Poitras
Title
Legacy of a Liberated Culture
Year
1990
Medium
mixed media collage, oil, acrylic, paper, plastic on canvas
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Work of the Week | “Magpie” by Bruno Canadien

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This week’s Work of the Week is “Magpie” by Bruno Canadien.

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June is National Indigenous History Month in Canada – a time to recognize the history, heritage and diversity of First Nations, Inuit and Métis peoples in Canada. Each June, the AFA honours and elevates Indigenous artists sharing selected artworks and their profiles from our collection as our Works of the Week.
 

This week’s Work of the Week is “Magpie” by Bruno Canadien.

About the Artist: Bruno Canadien

Born and raised in Denendeh in the Northwest Territories, Bruno Canadien is Dene (of mixed heritage) and a member of the Deh Gah Got’ı́é Kǫ́ę́ First Nation, a Deh Cho Region member of the Dene Nation. He now lives in southern Alberta, the traditional territory of the Blackfoot, Tsuu T’ina and Nakoda.

Bruno majored in painting and earned a Diploma from the Alberta College of Art (now the Alberta University of the Arts) in 1993. His pieces have been shown in solo exhibitions in Okotoks, Black Diamond and Calgary, and in group exhibitions in Calgary, Banff, Red Deer, Fort McMurray and Grande Prairie.

Through his work, Bruno address issues critical to First Nations peoples, including sovereignty, natural resources, environmental preservation and the oil and gas industries treatment of the land and its people. His collages, paintings and drawings and other pieces reflect his respect for his heritage and his passion for bringing important issues to the forefront. Through the language of art, Bruno is communicating the need for national attention.

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Bruno Canadien
Title
MAGPIE
Year
2006
Medium
acrylic, charcoal, paper, metal on canvas
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Work of the Week: Faye HeavyShield

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In honour of Red Dress Day, we feature two artworks by Faye HeavyShield: red dress and blood

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May 5 is Red Dress Day, a national day for honouring missing and murdered Indigenous peoples. It is a day to raise awareness and education about missing and murdered Indigenous women, girls, two-spirit people and men.
 

On the day, people across North America hang red dresses in private and public spaces to remember missing and murdered Indigenous women, girls and two-spirit, lesbian, gay, bisexual, transgender, queer, questioning, intersex and asexual plus people in solidarity with family members and loved ones.

In honour of Red Dress Day, we are featuring two artworks by Faye HeavyShield from the AFA Art Collection: red dress and blood.

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Additional information about blood

The sculpture featured above is one component of a larger installation entitled blood. The installation reflected on Faye HeavyShield's ancestry and identity. 

The diverse elements of the installation included:

  • drawings composed directly on the gallery walls
  • a solid 3-dimensional rectangular form painted red and covered in miniature cloth red bundles
  • the installation of string and red cloth bundles (featured)

These elements depicted the inseparability of the past and the present, and the communal and the personal. The installation explored memory, especially the ritualized and repetitive acts to preserve it.

In the words of the artist:

“My parents blessed me with language, kindness, and strength, my brothers and sisters taught me loyalty, my children give me hope. This is blood.”

About the Artist: Faye HeavyShield

Faye HeavyShield is a member of the Blood Nation.

She graduated from the Alberta College of Art (now the Alberta University of the Arts) in 1985 and continued her studies at the University of Calgary.

Gaining prominence and recognition over the past 20 years, her work has been the subject of many solo shows, including major exhibitions of First Nations contemporary art. Her work is featured in collections of the National Gallery of Canada, the McMichael Canadian Art Collection, as well as the AFA Art Collection. She was one of three artists selected to receive the 2021 Lieutenant Governor of Alberta Distinguished Artist Award in 2021.

In April 2022, it was announced that HeavyShield was the winnter of the $75,000 Gershon Iskowitz Prize at the Art Gallery of Ontario. This annual award recognizes an artist who has made outstanding contributions to Canadian visual arts. 

HeavyShield's work is a fusion of highly evolved personal and powerful imagery influenced by her Christian and Blood upbringing. Her minimalist installations are metaphors of the human body and a reflection of her personal experiences.

Image descriptions

red dress - A bright red dress is hung on a black mannequin stand facing front toward the viewer. The dress has mid-length sleeves splaid to each side, a smal V in the neckline, and a simple seam between bodice and skirt. Across the chest of the bodice are two lines of large white metal and paper tags that hang from a line of glass beads. 

blood - A long column of approximately 30 red strings hang from a ceiling in a gallery space, with hundreds of red cloth bundles tied to each string. Where the column of string meets the cement floor, the strings are laid out to spread away from the centre to create a kind of web around the column.

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Work of the Week: Faye HeavyShield
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In honour of Red Dress Day, we feature two artworks by Faye HeavyShield: red dress and blood

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In honour of Red Dress Day, we feature two artworks by Faye HeavyShield: red dress and blood

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Faye HeavyShield
red dress
2008
nylon, cotton, metal and paper tags, glass beads
Faye HeavyShield
blood
2004
cotton, cotton string, acrylic

Work of the Week: Strange Jury #2 by Dwayne Martineau

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Work of the Week invites you to explore the unnoticed world of nature and to challenge our perspectives.

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Strange Jury #2 asks the viewer to challenge their perspectives by seeing nature through a different lens. The artwork is intended to depict a trial in the forest. The viewer is the defendant. The jury is Nature.

This artwork is part of a series of five works. When installed in a gallery, five giant prints are hung in a circle off the ground to depict five characters of the forest with animistic faces. The AFA acquired one of these prints through the Art Acquisitions by Application to be a part of the AFA Art Collection.
 

About the artist

Dwayne Martineau is an Edmonton based visual artist and musician. He is a treaty member of Frog Lake First Nation, descended from Plains Cree, Métis, and early French and Scottish settlers.

He enjoys seeing the world like a child full of discovery. Also, he approaches the world with a critical mind, seeking both truth and wonder. His visual arts practice began with experimental landscape photography, and has evolved to include videography and immersive large-scale art installations.

Art Acquisitions by Application

The next deadline for the AFA’s Art Acquisition by Application program is April 1! Read the guidelines if you’re interested in submitting your artwork to have it be considered for acquisition to the AFA Art Collection.

Image description

The artwork is an abstracted photograph on backlit film that suggests an animistic creature in a forest. A black, insect-like face with large antennae floats on a faded yellow background, with black trees and bushes in the background. 

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Artist
Dwayne Martineau
Title
Strange Jury
Year
2021
Medium
Photograph on backlit film
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Work of the Week: "Wisdom Trail" by Alex Janvier

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This week’s Work of the Week is "Wisdom Trail" by acclaimed Indigenous artist Alex Janvier.

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This week’s Work of the Week is Wisdom Trail by acclaimed Indigenous artist Alex Janvier in honour of the master artist’s birthday, which was this past Sunday on February 28!

Happy to birthday to Mr. Janvier!
 

About the Artist: Alex Janvier

Alex Janvier was born on the Le Goff Reserve, Cold Lake First Nations, Alberta, in 1935.

He was raised in the Chipewyan tradition until he attended the Blue Quill Residential Indian School at the age of eight. Janvier graduated with Honours from the Alberta College of Art in 1960 and since then has built an international reputation as a painter, muralist and printmaker. He has influenced a younger generation of native artists through his paintings and advocacy work with arts organizations and land claim committees.

Janvier's imagery is a combination of traditional native decorative motifs such as medicine wheels, floral designs and symbolic colour combinations. In the late 1980's and early 1990's, his work became more representational and concerned with specific social and political issues.

Janvier has been the recipient of many accolades throughout his career. Since 2007, he has received honourary doctorates from both the University of Calgary and the University of Alberta, was appointed to the Order of Canada, received a Governor General's Award in Visual and Media Arts and was the first ever recipient of the Marion Nicoll Visual Arts Award from the Alberta Foundation for the Arts.

Alex Janvier continues to live and work in Cold Lake.

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Alex Janvier
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WISDOM TRAIL
Year
n.d.
Medium
acrylic on burlap
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Art Acquisitions by Application

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Apply to have your artwork become part of the AFA Art Collection
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Art Acquisitions by Application program guidelines
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Overview

This program supports Alberta's resident professional artists--individuals or ensembles--by purchasing their work for the permanent AFA Art Collection. Acquired artworks are showcased through AFA's outreach initiatives, including the Exhibition Loan Programs, Travelling Exhibition Program (TREX), Art Placement Programs, and the AFA art house.

Who can apply

Individual eligibility criteria

The AFA celebrates and supports diversity and is committed to creating equitable, inclusive, and accessible programs for all, free of barriers and discrimination. We recognize the unique contributions all artists make towards our community, and encourage applicants representing diverse communities including Indigenous peoples, racialized communities, women, people with disabilities, and the 2SLGBTQIA+ community.

To be eligible for this acquisitions program, you must be a resident of Alberta. This means you:

  • Are a Canadian citizen, permanent resident, or Protected Person with an open work or study permit from inside Canada
  • Have had your primary residence in Alberta for at least one full year before applying
  • Ordinarily live in Alberta for at least six months of each year.

Applicants must be in good standing with the AFA, with no outstanding projects or reporting obligations through any of the AFA's programs (i.e., AFA grant programs).

Current applicants to AFA grant programs and recipients of past AFA grants and awards are eligible to apply.

You must meet the AFA's definition of a professional artist. This means you must have participated in at least one public showing of your artwork and demonstrate an ongoing record of your artistic practice in your materials submitted. For more information on professional artist status, please see the AFA's Collections Development Plan.

Applicants must not be enrolled in any formal art-training program at the time of application. At least one full calendar year must have passed since graduating/completion of any formal art-training study before applying.

Artist residencies and PhD programs are considered eligible, provided they are self-directed and do not have a formal art-training component.

Ensembles of Artists

Ensembles of artists are eligible to apply provided that each member meets all the individual eligibility requirements listed above.

The ensemble must designate one artists as the primary contact and every member of the ensemble is required to complete and submit a Designation for Submission by a Commercial Gallery, Organization or Artist Agent form, designating the primary contact to act on their behalf.

Galleries/Agents

Applications from a gallery/agent are eligible if the featured artist meets all individual eligibility requirements and has signed a Designation for Submission by a Commercial Gallery, Organization or Artist Agent form.

Sole proprietorships must apply as a gallery/agent classification and the sole owner must complete the above Designation form.

Applicants may be required to provide additional information to confirm eligibility. This may include proof of residency and/or documentation of graduation from a formal art training program to determine eligibility. Other supporting materials may also be requested if needed to meet program requirements.

If you have questions about your or your gallery's eligibility, please reach out to us directly.

What does this funding support?

Artworks purchased through the Art Acquisition by Application program are included as part of the AFA Art Collection and made available for programming and public access through the AFA’s Travelling Exhibition Program, the online AFA Virtual Museum and AFA art house. The AFA Art Collection also functions as a key lending resource, providing artworks to public galleries, institutions, Government of Alberta offices, agencies, organizations, and not-for-profits through its Exhibition Loan Program, and Art Placement Program.

Eligible artworks must be:

  • Original artworks created by a living artist.
  • Produced within the last five years (calculated from the program deadline).
  • Suitable for any required travel for public display (including freight elevator access) and manageable by handling by 1-2 people.
  • In good physical condition.
  • Display-ready, with appropriate hanging mechanism or hardware if needed.
  • Priced at fair market value, based on the artist's past sales history and comparable works by peers. The AFA may request documentation to support the listed price.

Ineligible artworks:

  • The AFA no longer acquires film, video, moving image, digital media, or other time‑based media through this program.
  • Artworks that require immediate maintenance and are not display ready upon submission may be deemed ineligible. Please check your works to ensure they are free from the following conditions to maintain eligibility:
    • flaking or chipped paint, glaze, or other materials
    • curling, faded, ripped or otherwise damaged artworks
    • artworks with surface scratches or abrasions
    • artworks containing unstable materials that are not archival quality or are known to deteriorate over time
    • artworks that are soiled and require surface cleaning
    • artworks with warped or unstable stretchers

The following applications are also ineligible:

  • Student work or any artwork created while enrolled in a formal art‑training program.
  • Photographs or prints mounted directly onto aluminum, foamcore, or similar substrates.
  • Applied arts (e.g., gaming, architecture, interior design, commercial photography).
  • Graphic design, fashion design.
  • Published books containing artwork or photographs.
  • Reproductions or copies of original artworks (e.g., giclée prints).
  • Artworks using Indigenous imagery, themes, or stories without evidence of respectful engagement, appropriate permissions, or community protocols. Such works are considered appropriation and do not meet CARFAC’s Indigenous Protocols for the Visual Arts.

If you are unsure whether your artwork is eligible, you are encouraged to contact the AFA directly.

How to apply

We only accept applications through the Grant Administration Tracking and Evaluation (GATE) Front Office online application system. We must receive your online application through GATE Front Office no later than 11:59 pm Mountain Time on the deadline date, unless the deadline falls on a statutory holiday or a weekend when it will be extended until the next working day. 

Please give the system time to process your application so that the AFA receives notification of your submission before the deadline date.

GATE username registration

First-time applicants will require a GATE Front Office username and password. Email us at registrationafa@gov.ab.ca to get your login information at least five business days prior to the application deadline. 

Please include:

  1. Your full legal name (if you are applying as an individual).
  2. The common name of your business/organization and the legal entity name (if you are applying as a gallery or agent)
  3. Your email address.

The username and password will be sent to the person at the email address provided.

If you already have a GATE profile for another AFA funding program, you can use this profile to apply to the Art Acquisition by Application Program. 

For detailed step-by-step instructions on how to make a GATE application, please download an Art Acquisition by Application-specific GATE Front Office user guide.

Making an Application

A strong application describes the specific artworks submitted and gives context to the artworks and the artists’ practice through the supporting documents. 

  • You may submit up to five artworks in a single application. All artworks must be included in the same application.
  • Only one application per artist is allowed per annual intake.
    If two applications are submitted for the same artist (for example, one from the artist and one from a gallery), only the first application received will be reviewed. The second will be considered ineligible for that intake.
  • You may submit multiple pieces that collectively form a single artwork—such as a diptych, triptych, or series—as one artwork, as long as:
    • The components are not sold separately.
    • The price listed is one total price for the entire set.
  • Your application should include all the relevant information needed for adjudicators to assess the submission as a standalone item as the adjudicators may not be aware of your artistic practice outside of the materials submitted. 

The following formlets are required in GATE:

  • Accurate details about each piece (up to five artworks) submitted within the GATE Artwork Submission List. 

This includes the artist’s name, title, date of work completion, if the work is framed, the edition number (if applicable), price, dimensions, category, medium, support and information on varnish/protective finish.

For photographs or print-based works, please ensure edition numbers and relevant details are included in the application. 

You are not required to frame an artwork for the second stage viewing, however if the artwork is already framed and the materials are archival (acid free mats and frames), please submit the frame with the artwork and include the cost of the frame in the artwork price. 

  • An artistic statement about the piece in the Artwork Submission List. 

The artist statement should be specific to the artworks submitted in the application and should place artworks in the context of your wider practice. 

You should include any relevant information needed to help the review panel of adjudicators consider the works. If there are installation instructions or other relevant details that do not come across in the images and will help the adjudicator understand the work, please enter it into the “Artistic Statement about this piece” text box alongside your artistic statement. 

  • The exhibition history of the artworks submitted. 

This information highlights where the artwork has been publicly displayed and helps adjudicators assess its potential role in AFA outreach programming.

If the artwork has not been exhibited before, please indicate by noting “has not been exhibited before.” 

Attachments

The following attachments must be submitted within GATE:

NEW! 

  • A 300–500 word artist biography. An artist biography is now required and should be included as an attachment on the attachments page in GATE (attached as Image #28). 

The artist biography is used to help understand an artist’s practice and background. If the artwork submitted is purchased by the AFA, the biography will be posted to the AFA website with the artist’s permission.

  • A professional artistic resume (or CV/Curriculum Vitae). 

The AFA understands that the term “professional” is subjective and may look different depending on cultural backgrounds and traditions.

For the purposes of the Art Acquisition by Application Program, artists are asked to demonstrate their professional status through their artistic resume/CV and by meeting at least one of the mandatory professional artist criteria outlined in the AFA’s Collections Development Plan: 

  1. Specialized training:
    This can include formal education, apprenticeships, or self-taught expertise (in a manner appropriate to their art tradition).
  2. Peer recognition:
    They are acknowledged by other artists within their field as skilled and professional.
  3. Public presentation:
    They have a history of exhibiting their work in public, professional contexts, such as galleries, exhibitions, or other public spaces.
  4. Professional practice:
    They engage in artistic activities with the intent of creating and selling their work, often as their primary or a significant source of income.
  5. Commitment to their craft:
    They dedicate significant time and effort to their artistic practice, treating it as a serious profession rather than a hobby. 

An artistic resume/CV can include: 

  • Any formal or informal art education and training completed (art courses, workshops, or other instruction and any qualifications earned such as certificates, degrees, etc.).
  • Your exhibition history (list the dates and locations of any public displays of your artwork, including exhibitions featuring artworks beyond those submitted in this application.
  • Any formal or informal recognition from the visual art community you have received (list grants, awards, distinctions and any related art activities such as teaching, curating, critical writing, membership in art organizations).
  • A list of any public, corporate or other collecting bodies that have acquired artwork from you for their collections.
  • If your practice is less traditional or you have been active in other ways, a written explanation of your practice, experience and commitment to your art should be included as part of the artistic resume/CV.
  • A signed Designation for Submission by a Commercial Gallery, Organization or Artist Agent form (if applying as a gallery, agent or ensemble of artists).
  • Up to 20 Digital photographs of the artworks (4 MB maximum file size, jpgs, pdfs accepted). 

Digital images help the adjudication panel evaluate the physical qualities of submitted artworks and determine which pieces will advance to the second stage, in-person art viewing at the AFA offices in Edmonton.

Digital photographs need to include clear, high-quality images of the artworks that convey the materials, and the techniques used in the artworks. Poor or unclear images can impede a proper assessment of your work. 

Images should include all parts of the artwork (front and back and installation views) to accurately portray the artwork. 

If you are submitting installation images where there are other artists’ artworks or artworks that are not being offered to the AFA being included in the image, please indicate this in your artistic statement about the piece to avoid the panel including these in their assessment. 

Applicants may be asked for additional information about artworks as needed. 

How will my application be assessed?

Expert Panel Evaluation

All artworks submitted to the Art Acquisition by Application Program are reviewed, adjudicated and selected by an external three-person, peer jury (expert panel). Expert panelists are chosen based on their artistic expertise to provide the AFA with independent, informed perspectives and encourage excellence within the Alberta arts community. 

The Art Acquisition by Application Program utilizes a two-stage adjudication. 

  • Stage 1 is the initial review and assessment of all applications submitted to the program deadline. A shortlist of artworks to be considered in-person is developed at this stage.
  • Stage 2 is an in-person viewing of shortlisted artworks at the AFA offices in Edmonton. Please note that while there is no public access to the AFA offices, staff of the AFA may see submissions on site during the stage 2 adjudication process.

Artwork Evaluation Criteria

The Criteria Governing Acquisitions from the AFA’s Collections Development Plan is used to evaluate all Art Acquisition by Application submissions, ensuring a rigorous and consistent evaluation of artworks once an artist’s eligibility has been established. 

Each artwork will be individually assessed for inclusion in the AFA Art Collection based on the following four areas of criteria/considerations from the Collections Development Plan: 

Public Access: 

  • Is the artwork in a size and a medium that can be easily shown and shared with the public in the AFA’s TREX Program or Art Placement Program (ex: Can the artwork be handled and set up by 1-2 people)?
  • Is the artwork able to withstand extended travel and display in non-traditional spaces?
  • Is the artwork likely to be selected for use in the TREX Program, Art Placement Program or AFA’s Exhibition programs?

Care and Conservation: 

  • Is the artwork fragile or will it require ongoing conservation?
  • Will the artwork require specialized storage and significant long-term maintenance and care?
  • Will there be additional costs to transport, frame, or maintain the artwork?

Curatorial Considerations: 

  • Is the artwork relevant to Alberta’s history and the visual arts in Alberta?
  • Does the artwork show original ideas, artistic excellence or material skill?
  • Has the artwork been exhibited or made available to the public?
  • Has the artwork received any formal awards or other public recognition?

Development of the AFA Art Collection: 

  • Is the artist new to the AFA Art Collection?
  • If the artist is already included in the AFA Art Collection, does this artwork address a chronological, curatorial, or gap in medium within the Collection? 

Shortlisted Artworks

Edmonton and Calgary Drop Off Depots

  • Artists and/or their galleries are responsible for bringing any artworks selected for in-person viewing to a depot location in Edmonton or Calgary at their own expense. Depot dates and locations are finalized after Stage 1 is complete.
  • If your artwork is selected for Stage 2 and you are not able to meet the depot requirements in either of these locations, you can arrange to send the artwork/transport the artwork directly to the AFA at your own expense.
  • Submissions may need to be withdrawn if the artworks are on loan and cannot be removed from exhibition and/or are otherwise unavailable for in-person viewing.
  • If the artworks are not accepted for purchase by the AFA and you shipped the artworks directly to the AFA, the AFA will pay to return the artworks to the same location they were shipped from. 

Conservation Review

Artworks shortlisted for in‑person review are assessed for conservation and any condition issues before being presented to the expert panel adjudicators.

All artworks must be clean and in good overall condition. Any artwork found to be in poor physical condition or not meeting the eligibility criteria will be removed from further consideration and the artist notified.

Poor physical condition can include, but is not limited to, artworks with the following concerns:

  • flaking or chipped paint, glaze, or other materials
  • curling, faded, ripped or otherwise damaged artworks
  • artworks with surface scratches or abrasions
  • artworks containing unstable materials that are not archival quality or are known to deteriorate over time
  • artworks that are soiled and require surface cleaning
  • artworks with warped or unstable stretchers
When will I hear?

It is our aim that artists will be notified within three months of the application deadline of the outcome of the first-stage adjudication (shortlisted for stage 2 adjudication or unsuccessful for stage 2 adjudication).

Regardless, all applicants will be notified in writing of the result of their applications (whether successful or unsuccessful) within six to eight months of the application deadline.

Conditions

Exhibition requirements for shortlisted artworks

If artworks shortlisted for the second stage adjudication are booked for an upcoming exhibition, please contact us and let us know as soon as possible. 

An exhibition loan, according to the AFA's loan request deadlines, will need to be arranged if the work is purchased by the AFA.

Reporting

Art Acquisition by Application does not require a final report. 

Before an artwork is purchased, the artist/copyright owner of the artwork(s) must complete, sign and upload/send the AFA the following items:

  • A signed copy of the AFA’s “Reproduction/Exhibition Agreement” for each of the artworks to be acquired.
  • A digitally signed PDF “Acquisition Data Sheet” for each of the artworks.
  • An artist biography (500 words or less) to be posted on the AFA Art Collection’s website.
  • A detailed invoice including the following information:
    • payees’ legal names or business name matching the one in GATE,
    • itemized description of the purchase, and
    • price of artwork(s) and correct mailing address and contact information for payment.
    • Please also include the AFA’s information as the purchaser and do not add GST (as the AFA is GST-exempt).
  • the AFA will accept electronic signatures (e.g., Adobe e-signature) on the Acquisition Data Sheet.

Forms and templates for these documents will be provided to artists that have artworks being considered for purchase by the AFA.

Should you wish to receive payment through direct deposit, please use the Direct Deposit form:

Helpful resources

The holdings of the Alberta Foundation for the Arts Collection can be viewed online at the Alberta Foundation for the Arts Virtual Museum.

We gather general comments about the applications and share them on the Adjudication page. The expert panel does not record specific comments about individual applications.

Resources for using the GATE Front Office system:

The AFA recognizes many artists encounter barriers to application and reporting procedures.

Deadline information