AFA News

Our intrepid Arts Development Consultant and luminary in Edmonton community theatre, Barb Mah is retiring from the Government of Alberta and the Alberta Foundation for the Arts (AFA). 

Her dance and theatre training combined with a formal business education means that she is equally at ease in a rehearsal studio or doing a forensic analysis of your latest financial statement. 

Here's a bit more about Barb as we bid her adieu as she seeks new adventures!

Artist profile

We asked Barb about her artistic practice and career:

How many shows have you worked on in your career?

Over 50 - too many to count...

If you could only do one: Directing, acting, choreography or teaching?

Teaching, followed closely by directing. (In community theatre, they’re much the same.)

What’s one of your favourite memories working in theatre?

A production of The Rocky Horror Show. The cast was so tight that we could have performed for no audience and would have been happy. At the cast party, we all slept over at the theatre as we were so reluctant to let it go. (I don’t even like that show that much, but that cast…)

What’s one of your proudest moments as a teacher?

So many good moments, but watching students suddenly “get it” (usually in movement, which for those that don’t have a movement/dance background, they can struggle with).

This is directing-related but, during one show, I hired a teen in a cast of otherwise adults (I didn’t realize he was that young). A quiet young man that, during the course of rehearsal and doing the show, came out of his shell. I received a heartfelt note at the end, telling me he had started the show in a depressed state of mind, and that the show had given him back his life. 

What show have you always wanted to work on, but haven’t yet had a chance?

Bucket list: Merrily We Roll Along (I came close: pre-pandemic, I had actually cast it. Then COVID. We did a “first/last” read on Zoom and then everyone went home and cried.) But I have been very lucky in being able to do shows that are dear to my heart. One of these days…

What will you be up to next?

Next show (also a bucket list item): Austentatious, by a local (Calgary) writer. Jane Austen’s Pride and Prejudice gone completely off the rails. I became aware of this show over 15 years ago when the AFA funded its initial production. (It has since played Off Broadway and across the pond).

Anything to add? 

Other crazy interests: Star Trek and Regency cos-play. (I’m a costumer as well and am crazy about costumes, I’m a decent sewist – have been my whole life.)

Barb and the AFA

Early days

Barbara Mah started working for Alberta Culture and Multiculturalism In May of 1989. You will note that Barb's career pre-dates the establishment of the AFA in 1991, which was an amalgamation of three former government-funded arts foundations. (Learn more about the orgins of the AFA.)

She joined the Touring Section of the Performing Arts Branch, which occupied a space on the 11th floor of Edmonton's CN Tower, sharing space with the Music Section, Theatre and Dance section, administration, and the performing arts library. This was an arts resource owned by the ministry with a large collection of records, music scores, plays, and other lending materials. 

• The playscript library is now owned and operated by Theatre Alberta Society, and has since expanded to more than 23,000 titles!

While grants were an important part of what we did, equally important was the community programming and capacity building. This took the form of classes, conferences, live auditions, hands-on creation of support organizations, newsletters, etc.
~Barb Mah

The largest activity supported by Barb's section was the annual Alberta Showcase conference. Back then, it was a four-day affair where hundreds of presenters and artists were assembled to encourage bookings throughout Alberta. Performances were presented at the Citadel Theatre and the Library theatre in Edmonton. 

• Alberta Showcase is now operated by the Arts Touring Alliance of Alberta.

The AFA is born

In 1991, Barb was part of a four-person task force charged with creating a transition plan to support amalgamation to establish the AFA, and to create workable programs. There were huge changes associated with this transition, but Barb notes one significant move: 

One change we implemented was the introduction of outside adjudicators (our expert panels), based on a model that we had used with some granting on the government side prior to amalgamation – much of it based on the work done by the theatre, dance, and music sections of the former performing arts branch.

The Expert Panel model remains a cornerstone of AFA adjudication of project grants. Learn more about how the AFA adjudicates funding requests. Barb was also instrumental in the development of community support programs, which is now the Community Support Organziations operating funding program.

With the AFA throughout the years...

The Rotting Donkeys is the name of the fictional band that the grants section created (despite the fact that nobody played any instrument or could sing), and we created several albums (complete with artwork and song titles, but never any actual songs). The name of the band came from a grant extension request: a film client needed an extension, as his film included a literal dead rotting donkey in it... and the decay had not gone far enough by the time the reporting deadline hit. You take your inspiration where you can get it...

Barb has been with the AFA through all of its major milestones:

• the AFA's first website, and eventually the adoption of the GATE Front Office online application system
• the move from Beaver House to Capital Arts Building
• Alberta Art Days (now Alberta Culture Days)
• Alberta at the Smithsonian
• introduction of Aboriginal Organization and Alboriginal Traditional Arts grants (now Indigenous Arts Individual Project Funding)
• The AFA's 25th Anniversary and the AFA Art Collection's 50th Anniversary

... and more. We will miss her very much!

^{Pictured above: Jessica Linnebach’s solo debut, age seven. 1991 – one of the very first AFA grant recipients!}

Join the AFA in recognizing its 30th Anniversary and the annual Month of the Artist by celebrating our local artists and arts organizations, and learning more about the fabric of our arts community. 

This article, originally written by Kelsie Tetreau, examines where the Alberta Foundation for the Arts comes from and how it all began...

You may know the AFA as a source of arts funding, or the host of the provincial art collection. Maybe you frequently browse arts opportunities on the AFA's News feed. Or perhaps you’ve simply noticed our logo on a label beside a work of art you saw in passing. But to truly get a sense of what the AFA is and what it means to Alberta’s arts community, we need to start at the beginning…

Alberta became the first province in Canada to formalize public support of the arts and culture through the passing of the Cultural Development Act in 1946. This was a milestone in Canada’s national artistic heritage. What followed was the establishment of several provincial organizations, bodies and projects that formed the skeleton of what is now known as the AFA.

The Alberta Art Foundation (AAF) was established in 1972, the first of three lottery-funded bodies mandated to support cultural development in Alberta.  At first, the AAF did not focus on grants; rather, it was assigned the task of collecting art on behalf of the people of Alberta. The first piece of art ever acquired to the AAF Art Collection was a piece called Portrait of Don Getty, a print featuring former Alberta Premier Don Getty’s Edmonton Eskimos player card.

Portrait of Don Getty, Unknown Artist

In preparation for Alberta’s 75^th anniversary celebrations in 1980, the Visual Arts Branch of Alberta Culture launched a province-wide traveling exhibition program that featured a number of exhibitions drawn from the AAF collection. When the program wrapped up at the end of the year there was such demand from communities around the province that the AAF decided to continue the program, which still runs today as the TREX Program.

With the creation of the Alberta Foundation for the Performing Arts in 1978 and the Alberta Foundation for the Literary Arts in 1984, the province had a variety of approaches to supporting different sectors of the cultural community. In 1991 the government decided to combine the Alberta Foundation for the Performing Arts, the Alberta Foundation for the Literary Arts and the Alberta Art Foundation into one.

Thus, the Alberta Foundation for the Arts was born on September 6, 1991.

The first AFA board included three members from each of the Alberta Art Foundation, the Alberta Foundation for the Performing Arts and the Alberta Foundation for the Literary Arts, plus three members drawn from the public. The new AFA picked up where the three organizations left off with distributing arts grants and acquiring artwork for the provincial collection, but expanded to hire administration staff, and began using expert panel juries to inform more grant decisions.

The first AFA board and logo

A notable grant recipient from the first year of the AFA was seven-year-old Jessica Linnebach. Hailed as a musical prodigy, Jessica received an AFA grant which helped her attend the Canadian Music Competitions in Ottawa, where her mark of 99% from the jury gave her a share of the National Competition First Prize and the Birks Family Foundation Scholarship.

Since her soloist debut, Jessica appeared with major orchestras throughout North America, Europe and Asia. She was accepted to the world-renowned Curtis Institute of Music in Philadelphia at the age of ten, and remains one of the youngest ever Bachelor of Music graduates in the history of the school. 

Jessica has twice won the Grand Prize at the Canadian Music Competition, has won major prizes at the Young Concert Artists and Philadelphia Orchestra competitions, and in 2000 won the Sylva M. Gelber Music Foundation Award presented to the most gifted Canadian musician under the age of 30. Jessica has been a member of the first violin section of the National Arts Centre Orchestra since 2003 and named their Associate Concertmaster in April 2010.

Jessica Linnebach (Photo by Fred Cattroll via nac-cna.ca)

Since 1991, the AFA’s granting program has grown to support thousands of artists, organizations and projects create a vibrant arts community in Alberta. 

How will you take part in art this September and support artists? Share your experiences through social media by tagging the AFA and using the hashtag #TakePartInArt.

On September 29, 2022, we marked the 50th Anniversary of the AFA Art Collection. As part of the celebrations, we are sharing snippets from the history of the collection. 
Learn more about the celebrations! 

By Erin McDonald, former Manager, Art Collection, and Gail Lint, Art Collections Consultant

The formative years of the AFA Art Collection were benefited from the generous donations of artworks from artists, collectors and benefactors. 

Donations were the stepping stones to building the collection in the first year – without them the collection may have faced a challenging time to establish its reputation and credibility!

A.Y. Jackson

In 1973, the AFA received an unprecedented donation of 18 drawings by illustrious Group of Seven artist A.Y. Jackson. Jackson spent time in Alberta documenting the landscape while visiting his cousin in the Lethbridge area.

A.Y. Jackson, Rolling Landscape with Ranch, 1940, pencil on paper

Later the same year another donor approached the Foundation with a gift of an A.Y. Jackson oil painting, Northland Tapestry. This work has been loaned to major institutions for numerous exhibitions:

A.Y. Jackson, Northland Tapestry, 1950, oil on board 

Arthur Lismer

Artwork by Arthur Lismer, another artist of Group of Seven fame, was gifted to the collection through a private estate. People may not realize that some of Canada’s most celebrated artists can be found in the holdings of the AFA's provincial art collection.

Arthur Lismer, High Glacier, c. 1926-1928, oil on board

Emily Carr

Another highlight of the  collection is acclaimed Canadian artist Emily Carr, represented by two artworks gifted in 1977 by a gallery owner in Eastern Canada. Without the "art of giving," these Canadian icons may never have found their way into the AFA Art Collection.

Emily Carr, Market by the Sea, Brittany, 1911, watercolour on paper

Throughout the years acquisition by donation has been one of the foundational building blocks to create a diverse, intrinsic and invaluable legacy collection. Alberta artists have contributed to the holdings with donations from their personal collections, including their own artworks and those of colleagues.

James and Marion Nicoll

Major donations from Calgary based artists James (Jim) and Marion Nicoll, during their days of productivity, and from their estate, increased the holdings by more than 400 artworks. They were considered instrumental in the development of the Alberta art scene, and influenced and mentored numerous artists who became key players in the province.

Unknown, James and Marion Nicoll, n.d., silver gelatin on paper

Their artistic styles were polar opposites! Jim focused on a traditional academic approach...

1981.155.002 James Nicoll, Home of Paint, n.d., oil and ink on canvas board

... which was contrasted by Marion’s eclectic exploration of modernist design and abstracted form.

Marion Nicoll, January, 1969, woodblock on paper

Illingworth Kerr

In 1978, a gift from Illingworth Kerr featured a suite of more than 50 drawings illustrating circus scenes and a journey to Africa. This was followed by an additional donation in 1982 and 1983 of lino cut print portfolios depicting fauna accompanied by the original lino blocks.

Illingworth Kerr, Magpies, Winter Sun, n.d., linocut on paper

Illingworth Kerr, Magpies Winter Sun, n.d., original lino block & synthetic floor tile,

R Gyo-Zo Spickett

A donation deserving honourable mention came to the AFA in 1993 from Calgary artist R Gyo-Zo Spickett (formerly known as Ron Spickett). A celebrated figure in the Alberta art scene, Spickett was also an educator and mentor at the Alberta University of the Arts (formerly known as the Alberta College of Art and Design) and the University of Calgary.

• Through his commitment to Zen Buddhism, the artist changed his name to Gzo-Spickett and eventually shifted his focus to music. At the time of this donation the artist had not painted since 1981, though he did return to his visual art practice in his later years.

Spickett held the AFA Art Collection in high regards and, although other institutions expressed interest in his artworks, he gave the AFA the first opportunity to make a selection. AFA staff visited the artist’s studio and recommended 24 paintings be accepted as a gift from the artist.

R. Gyo-Zo Spickett, Dream Painting, 1974, oil on canvas

In 2009, a major retrospective was on exhibit at the Univeristy of Calgary Nickle Galleries featuring artworks from public and private collections. A catalogue by the curator, Geoffrey Simmons, entitled Spirit Matters: Ron (Gyo-Zo) Spickett, Artist, Poet, Lay Priest was published to accompany the exhibition. The AFA loaned 33 artworks to the exhibit, the majority of them having been gifted to the foundation by the artist.

Artist upon artists...

Donations to the AFA Art Collection account for more than 26 per cent of our artworks in 2022. Significant donations have been received during the past 50 years, which has helped the AFA build the curatorial representation of some of the major artists in Alberta.

To name and credit all the donations to the AFA collection would require a year of blog posts! A few additional donations worthy of mention (but only a sampling of them) include:

• Janet Mitchell
• Graham Peacock
• Sveva Caetani
• Robert Chelmick
• Kay Angliss (Alberta Society of Artists Highlights Prints – a complete set)
• RFM McInnis
• Jacques Rioux
• George Webber (photographer)
• George Weber (printmaker)
• Ron Kostyniuk
• Sylvain Voyer
• Robert Scott
• Hazel Litzgus
• Greg Payce
• Don Wells
• Murray MacDonald
• Peter Hide
• Arlene Wasylynchuk (estate)
• John Clark (estate)
• Les Graff 
• ... and so many more!

Les Graff, Garden Things/Still Life, 2006, oil on canvas

The "art of giving" to the AFA collection has been an invaluable to building this treasured art collection. A sincere thank you to all the donors and benefactors – where would we be without you?

A new way to give

In June 2022, the AFA announced the new Arts Sector Donation Program. This program is designed to foster and contribute to the growth and development of the arts in Alberta by accepting cash donations from donors that wish to support AFA programs and services.

The AFA can accept cash donations from individuals, nonprofit organizations, public and private foundations registered as charities, and private sector organizations. Qualifying cash donations of $50 or more are eligible to receive an official donation receipt. 

To celebrate 25 years of the AFA, we’re taking a look back at how we came to be, favourite milestones, and some of the amazing artists we’ve encountered along the way. 

By Daniela Navia, Research and Information, and Margaret Ingibergsson, Policy and Planning

The AFA Board of Directors not only provides leadership for our agency, it is our vital link to the Alberta arts community. Each member of our board has a background or a passion for the arts in our province, and many are artists themselves. The board is responsible for allocating the annual budget, approving AFA grants and scholarships, approving and monitoring the acquisition, exhibition and preservation of works in the AFA Art Collection, and developing the AFA Strategic Plan. Most importantly, members of our board hail from all around the province, as you can see from the map below, providing staff with wide range of community perspectives.

Click on the pins in the GoogleMap to see where our past and present board members are from. Are any from your town?

Over the years, the AFA has seem some exciting highlights. Here are some key events from each board chair’s term.

Joan Udell, Hinton, Chair from 2014 to 2016 

• AFA pledges $50,000 in matching funding for individual donations to the Alberta Arts Rebuild Fund to support members of the arts community affected by the 2013 Alberta Floods.
• What is Your Art? awareness campaign reached out to Albertans through television commercials, online advertising and social media, and encouraged Albertans to celebrate  and share the art in their lives.
• The AFA Art House, an online visual database featuring more than 8,500 works from the AFA Art Collection, completed and launched.
• The AFA incorporated online grant application through the Ministry of Culture and Tourism’s new Grant Administration Tracking and Evaluation (GATE) system.

Mark T. Phipps, Canmore, Chair from 2010 to 2013 

• A special three-part artwork commission was purchased to celebrate the 75^th Anniversary of the Banff Centre for the Arts.
• New AFA online resources launched, including website, AFA Newswire, Facebook page and Twitter feed.
• Thinking About the Arts: Recommended Resources published on AFA website.

Audrey Luft, Edmonton, Chair from 2007 to 2009 

• Alberta Creative Development Initiative launched by AFA and Canada Council for the Arts to further support development of the arts in Alberta over three years.
• The Healthy Agency Toolkit published on AFA website.
• The AFA was a partner in the first Alberta Arts Days in 2008.
• The AFA supported more than 80 Albertan artists/ensembles to participate in the Cultural Olympiad during the 2010 Vancouver Olympic and Paralympic Games

Dr. Jeffrey Anderson, Fort McMurray, Chair from 2003 to 2004  

• AFA partners with the Alberta Performing Arts Stabilization Fun to promote good board governance practices.
• The Artists and Education and Post-Secondary Institution grant streams introduced.
• Economic Impact of the Arts in Alberta research study published and distributed.
• AFA awards three Centennial Art Commissions and 54 Centennial Medals to artists, arts administrators, arts supporters, and volunteers.
• Action plan to enhance AFA’s support of Aboriginal arts launched.
• AFA moves into its new home: Capital Arts Building in Edmonton.

John "Jock" Osler, Calgary, Chair from 1994 to 2001 

• Introduction and implementation of the Client Statistics Report for AFA funded organizations.
• New funding formula for public art galleries introduced.
• New grant program structure introduced in September 2000 provides a broader range of arts support to encourage greater community support and increase stability of the sector.
• AFA partnership with Alberta Sport, Recreation, Parks and Wildlife Foundation begins to provide funding for Arts Camp Youth Workers as part of Alberta Future Leaders (AFL) program.
• Total annual attendance exceeds 12 million for AFA supported events and exhibitions.

R. C. Jarvis, Edmonton, Chair from 1991 to 1994 

• The AFA is founded on September 6, 1991.
• Development and establishment of the Rural Alberta Project (1993-94) and the Alberta Performing Arts Stabilization Fund (1994-95, in partnership with the Kahanoff Foundation of Calgary).
• Matching grant component made available to public institutions and non-profit organizations added to the Art Commission Program.
• “Investing in Art” television initiative, hosted by Leslie Nielsen, broadcast on CBC, PBS (Spokane), ITV, and ACCESS networks.

We have an important update for artists interested in applying for Music Individual Project Funding by March 1. AFA music grant applicants must now upload music samples directly into their GATE Front Office online application.

What does this mean for you?

Music applicants must now upload two audio samples as attachments to their application. This includes those artists applying for career development, training, or marketing projects.

Samples should reflect your artistic practice, and may include:

• scratch demos
• high-quality demos
• past commercial recording
• recordings of previous compositions or scores
• or two other representative works

Only arts administrators that are applying for training or career development projects are exempt.

• these applicants can upload a blank document as attachments to complete their applications

Format and resources

File size is limited and artists must prepare their samples accordingly. Each audio file must be:

• under 5 minutes
• in MP3 or AAC format
• no larger than 8MB

We encourage artists to edit their files into the required format and length before submitting their applications. Free online resources include:

• Pro Tools
• Reaper
• Garageband
• Audacity

New requirements for music commissions

Music applicants for Commission projects must attached a signed contract by commissioners.

We strongly encourage applicants to use the Model Composer Commissioning Contract, available through the Canadian League of Composers.

• download the contract

More information

You can find more information about how to attach audio files to your application in Music grant guidelines under How to apply.

• view the guidelines

Next deadline

March 1, 2023. The AFA must receive your application by 11:59 p.m. MST on the deadline.

Current applicants and recipients

If you have already submitted an application for March 1, your Arts Development Consultant will update your application on your behalf.

If you are a current recipient of an AFA Music grant and still need to submit your report, you can also upload audio files directly to GATE Front Office. Please visit the Music grant guidelines under Reporting for requirements.

• view the guidelines

Questions?

Contact Jason Flammia, Arts Development Consultant – Music.

The Alberta Foundation for the Arts (AFA) was honoured to select 15 recipients from Alberta's arts community to receive Queen Elizabeth II’s Platinum Jubilee Medals. 

While Alberta has no shortage of incredible individuals who have enriched Alberta and its arts sector with their dedication and mastery, the AFA was privileged to recognize 15 outstanding individuals for their contributions.

Two presentation ceremonies were held in Edmonton on January 30 and in Calgary on February 2, where the AFA presented the medals to the recipients.

Recipients recognized during the Calgary ceremony

Back row (from left to right): David Chantler, Jean Grand-Maître, Yves Trépanier, Jason Carter, Paul Baay (AFA Acting Chair)
Front row (from left to right): Claude Lapalme, Vicki Adams Willis, Maurice Lorieau (missing: Haysam Kadri)

David Chantler – Calgary 

David Chantler is the Founder and Producing Director of one of Canada’s oldest & largest children’s theatre companies. With two companies touring, Trickster trains artists and also creates on-line & in-person curriculum-based activities in 75% of Alberta communities, 20% of which are Indigenous.

Jean Grand-Maître – Calgary 

Jean Grand-Maître is widely recognized as among the most successful Canadian choreographers and artistic directors of his generation. He joined Alberta Ballet in 2002 and elevated the profile of the organization globally including collaborations with music icons such as Sir Elton John and K.D.lang.

Yves Trépanier – Calgary 

Yves Trépanier is a leading figure and champion of visual art, volunteering on many boards including the Glenbow Museum, Contemporary Calgary, the inaugural CADA board and collaborating with AU Arts. Yves has used his internationally known commercial gallery to launch many notable local artists.

Jason Carter – Canmore 

Jason Carter is an Indigenous sculptor, painter, illustrator and public artist from the Little Red River Cree Nation.  He grew up in Edmonton and was the only Alberta artist to have his own solo show at the 2010 Vancouver Winter Olympics and has also illustrated 5 children’s books.

Claude Lapalme – Red Deer

The tireless efforts of Claude Lapalme over the past 32 years have given Red Deer a fully professional orchestra – the only city of its size in Canada to accomplish this. In addition to his Music Director duties, he has also become a world-renowned orchestrator, and created the Choir Kids program.

Vicki Adams Willis – Calgary 

Vicki Adams Willis is Founder in Residence at Decidedly Jazz Danceworks and has changed the jazz dance art form in Canada. She is a brilliant teacher and choreographer who has developed a generation of dancers and built a sustainable audience. 

Maurice Lorieau – Calgary 

Maurice Lorieau was the founding visionary for Calgary Opera 50 years ago and made it happen. As a singer and also helping others to sing, he always had one approach that has lasted for the past fifty years and that was to “make Opera available to everyone”.

Haysam Kadri – Calgary 

Haysam joined The Shakespeare Company in 2012. Under his leadership, it has enjoyed countless nominations, significantly expanded its audience base and created innovative outreach programs. He is a sought after post-secondary Theatre Arts instructor and a national award-winning actor and director.

Recipients recognized during the Edmonton ceremony

Back row (from left to right): Vivek Shraya, Terry Wickham, Shelley Switzer, Marlon Wilson, Richard Wong (AFA Board member)
Front row (from left to right): Jane Ash Poitras, Natasha Deen and Michelle Wong

Vivek Shraya – Calgary 

Vivek Shraya is a trans artist of colour whose body of work crosses boundaries of music, literature, visual art, theatre, and film. She has been previously nominated for the Polaris Music Prize, is a seven-time Lambda Literary Award finalist, and founder of V.S. Books which supports BIPOC writers.

Terry Wickham – Edmonton 

Under Terry’s leadership, the Edmonton Folk Music Festival has expanded in size and scope – showcasing Alberta artists, attracting national and international artists and many genres of folk music. Terry produces a world-class music festival every summer and embraces a vision of inclusivity.

Shelley Switzer – Edmonton 

With decades of leadership experience as a Festival and Events Producer, Shelley expanded the Edmonton International Street Performers Festival into a large scale, inclusive and accessible community festival. She currently teaches at NAIT and is a sought-after consultant for festivals.

Marlon Wilson – Edmonton 

Marlon Wilson is a hip-hop artist and central member of Edmonton and Alberta’s hip-hop scene. He is a founding member of the award-winning group Politic Live and performs as solo artist Arlo Maverick.  He has also mentored many of Edmonton and Calgary’s emerging hip-hop and R&B artists.

Dr. Jane Ash Poitras – Edmonton

Born in Fort Chipewyan, Alberta, Dr. Poitras’ work is truly original and spans a range of topics and perspectives through art. She is an exciting storyteller and works in a variety of media including painting and mixed-media collages that have been featured around the world gaining numerous acclaims.

Natasha Deen – Edmonton 

Guyanese Canadian author Natasha Deen, has published over thirty works for kids, teens, and adults in a variety of genres and readerships. A multiple award-winner, Natasha uses her life experiences and humour to connect with students in schools and youth camps on the universal moments of growing up.  

Michelle Wong – Calgary

Michelle Wong’s production credits span television to movies to documentaries, performing arts specials and features. She has served on boards with Quick Draw Animation, The Fairy Tales Society, the Calgary Society of Independent Filmmakers and the Alberta Motion Pictures Industries Association.

About the QEII Platinum Jubilee Medal

The first commemorative medals in Alberta were awarded in 2005, marking Alberta’s 100th anniversary of its entry into Confederation. The history of the medals reaches as far back as 1887 with the Golden Jubilee of Queen Victoria.

Through the Queen Elizabeth II Platinum Jubilee Recognition Act, the Government of Alberta created Queen Elizabeth II’s Platinum Jubilee Medal (Alberta). The medal is awarded to 7,000 Albertans.

To celebrate 25 years of the AFA, we’re taking a look back at how we came to be, favourite milestones, and some of the amazing artists we’ve encountered along the way. 

By Sarah Pocklington, former Arts Development Consultant and AFL Co-ordinator

It seemed impossible to Alysha that she might be a gifted artist. Perhaps it’s not something she had dared to dream of or even considered before the Alberta’s Future Leaders (AFL) Program was invited to her community in 2014. But with the help of her AFL mentors, things changed.

The Alberta’s Future Leaders Program is a dynamic partnership between the Alberta Foundation for the Arts and Alberta Sport Connection. Each year, two mentors — one with a background in the arts and the other with a background in sports and recreation — live in a First Nations or Metis community in Alberta from May through August to create and deliver youth-focused arts, sports, recreation, and leadership programming for community members between 9-25 years old.

Developed in partnership with First Nations and Metis communities, the AFL program inspires and encourages youth to realize their potential through Mentor role modelling; programs, camps and trips; multi-disciplined arts workshops lead by practicing Indigenous artists; a leadership retreat near Jasper and Leadership through the Arts in Edmonton. To date, the AFL program has partnered with over 42 First Nations and Metis communities to offer more than one million participant hours of programming since 1996.

Photos of past participants via the AFL Website

AFL Mentors, Braydon Dowler-Coltman and Kayla Hannan, were placed in Beaver First Nation for the summer of 2014.  After a warm welcome from community members, Braydon and Kayla were soon able to meet and engage with community youth. Creating art projects became one of the regular summer activities, and the AFL program even contracted renowned spray paint muralist Jesse Gouchey to offer a community workshop.

Alysha, a young girl from Beaver First Nations community, was shy and very nervous about trying to create art.

“I had a great childhood and was a good kid growing up, but as I got older I started hanging out with the wrong crowd,” says Alysha. “My ‘friends’ would only ask me to hangout when they were drinking and doing drugs. My attitude and grades in school both went downhill. I was never home and it made my family sick to their stomachs not knowing where I was. The drinking very quickly led me to a severe depression.

“Thankfully, one summer I had the privilege to meet, Braydon and Kayla, the Alberta Future Leaders Youth Mentors. They both helped me through a lot. This is where my artwork all began.”

Alysha working on a piece of art, photo via Braydon

With the encouragement, support and advice of Braydon and Kayla, she was inspired to give painting a try. Alysha had never painted before but she quickly discovered that not only did she love painting, but she was really good at it! Thrilled and genuinely surprised, Alysha continued to create several projects throughout the summer.

“I started creating my very first piece of artwork and it was like everything slowed down in life. Art is my very own personal get away from all reality. It gives me time to think, and process all that is going on in my life. This helps me make decisions to better myself. I eventually got my grades back up in school and pushed through the hard times, and successfully graduated high school on time.”

Alysha graduated from high school in June of 2015, and brought her AFL mentors Kayla and Braydon as her graduation dates.

In August, Alysha attended Leadership through the Arts where she helped curate the AFL Evening of the Arts at the Jubilee Auditorium in Edmonton. Three of Alysha’s pieces were in the show, and by the end of the night, someone had purchased all three pieces.

Another of Alysha's pieces, via Braydon

“To this day I continue on my art journey and I've only gotten better. The Alberta Future Leaders program had a huge positive impact on my life. I could not be any more grateful for the opportunity to be involved with the Alberta Future Leaders. I would like to thank Braydon and Kayla especially for always being there for me. To this day they both still check on me to see if all is well, and I will forever cherish the relationship I had built with the both of them. They are my family.”

2016 celebrates Alberta Foundation for the Arts’ 18th year of partnering with Alberta Sport Connection on the Alberta’s Future Leaders Program.

In April 2021, the AFA hosted targeted stakeholder engagement sessions to gather input and feedback that could be used to inform the AFA’s 2021-22 spending plan and potential arts sector relaunch communications following the pandemic. The AFA sought input from arts organizations, individual artists, and Indigenous artists and arts workers.

The AFA heard from 91 clients and stakeholders from across Alberta during seven virtual meetings held via Zoom. By seeking stakeholder input on the arts community’s challenges, needs, and expectations, the AFA sought to make funding decisions that both fulfil our mandate and are as responsive to the current situation as possible.

To increase transparency and to help fulfill the AFA’s commitment to evidence-based planning, we have published a summary of what the AFA heard from this engagement process.

What did the AFA hear?

The AFA heard several consistent overall themes during the engagement. Stakeholders highlighted their views and concerns related to:

• funding and support for grant writing
• relaunch and recovery from the COVID-19 pandemic
• digital capacity
• communication and advocacy they would like to see from the AFA
• artistic practice supports and professional development opportunities

While we heard a variety of ideas, reflections, as well as concerns, related to these themes, there were four topics we heard repeated across all sessions and through many of these themes:

1. Uncertainty due to the pandemic: We heard about the many challenges that artists and arts organizations have had to endure during the COVID-19 pandemic. One challenge we heard that has been felt profoundly across the sector has been the uncertainty associated with the pandemic, both during the here-and-now and for the future during relaunch and recovery. This uncertainty impacts every aspect of the advice and input we received during engagement.
2. Stability of funding: While many stakeholders shared ideas for new programs that could be of value to the sector, a consistent message we heard across all sessions was the importance of maintaining current programs. Operational clients also stressed the importance of predictability and sustainability of funding levels from year-to-year. 
3. Flexibility for use of grant funding: Comments along this theme varied based on program, but we did hear a consistent desire among clients and grant recipients for fewer restrictions on eligible uses for funding. During discussions on this theme, we also heard some ideas for eligible uses of funding that the AFA already permits in many of its grant programs, such as support for professional development, research and development, costs related to cultural expenses (such as protocols and gift giving), and for child care costs. 
4. Advocacy: In all sessions, we heard many ideas about how the AFA could advocate on behalf of the arts community. We heard the importance not only of better outcomes that could be realized by the arts sector based on increased advocacy efforts, but the value artists and arts organizations see of the AFA advocating on their behalf. 

We encourage all artists, arts workers, other stakeholders and organizations that are connected to the AFA to read the full report. 

What happened next?

The AFA values the input provided during engagement sessions and has addressed some of the priorities raised in our 2021-22 spending plan. Our priorities were to maintain predictable and stable support for Alberta’s arts organizations, and to continue to provide project opportunities for individual artists.

We also considered ways to increase communication on supports available and other topics raised during the engagement sessions. We published frequently asked questions by new AFA applicants, based on feedback we heard during this engagement.

The AFA remains committed to ongoing engagement with our clients and stakeholders to ensure we are as responsive as possible to the community’s needs.

Questions? 

The AFA values input from all clients and stakeholders, and you may share your perspective or ask any additional questions by emailing afacontact@gov.ab.ca.

On September 29, 2022, we marked the 50th Anniversary of the AFA Art Collection. As part of the celebrations, we are sharing snippets from the history of the collection.

Learn more about the celebrations! 

By Erin McDonald, former Manager, Art Collections

2015 was dubbed Canada’s Year of Craft.  It was a year which saw a significant increase in craft creation and related activities. Alberta was abounding with artists and galleries that specialized in the creation, sales and collection of fine craft media. 

With a number of unique artworks available, the Alberta Foundation of the Arts (AFA) had made the acquisition of fine craft media a priority for the AFA Art Collection. 

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The AFA was contacted in the summer of 2015 about something that might be of interest to them—a significant collection of ceramic works by Albertan artists. 

Joan and Tom Chapman, located in Red Deer, were in possession of large cache of ceramics that they had collected over the years and were seeking a suitable storehouse for the works. 

About the Chapmans

The Chapmans owned and operated Chapman Galleries (1974 – 1984) and Four Corners Gallery and Framing (1988 – 1998) in Red Deer, Alberta.

From the Resource Centre files, an original invitation to a Chapman Galleries exhibition

For two decades, Joan and Tom were at the heart of the resurgence of studio and design potteries which combined distinctly modernist approaches to art, with traditional forms and techniques. 

A fine craft resurgence in Alberta

This resurgence ushered in an era of brilliant artists that inspired and explored Alberta’s burgeoning studio pottery world. These included:

• Noboru Kubo
• John Chalke 
• Jane van Alderwegen
• Harlan House
• Charles Wissinger
• and many other talented artists

John Chalke, BASECAMP, n.d., ceramic, AFA Art Collection

Fit to print

During this time, the AFA Art Collection had also released a series of publications that accompanied travelling exhibitions to highlight the evolution of the mid-century ceramics movement in Alberta. 

These exhibitions travelled throughout province, with stops in places like Red Deer, Lethbridge, Edmonton, Calgary and Grande Prairie. 

Studio Ceramics in Alberta 1947-1952 (1981)

Early Albertan works and artists were identified as part of the nascent clay tradition that began post-World War II in, Studio Ceramics in Alberta 1947-1952 (1981).

The publication featured an interview with Luke Lindoe, and early works by Greg Arnold, Walter Drohan, and Lindoe himself. 

Studio Ceramics in Alberta II, 1953-1963 (1982)

The second publication, Studio Ceramics in Alberta II, 1953-1963 (1982), explored the emergence of the ceramics department at the Southern Alberta Institute of Technology & Art, and the emergence of the Edmonton Potters’ Guild in 1953. 

The publication showcased artists like Sibyl Laubental, Vivian Lindoe, and Katie Ohe, and highlighted the strength of female artists in the medium.

Alberta Clay Comes of Age: Studio Ceramics in Alberta III

In 1984, the last in the series, Alberta Clay Comes of Age: Studio Ceramics in Alberta III, 1964-1984 was released.

The exhibition and catalogue featured emerging artists like Ed Drahanchuk, Annemarie Schmid Esler, and Tony Bloom who would ultimately become synonymous with the ceramics movement in Alberta. 

Annemarie Schmid Esler, PLATE, ABSTRACT BLACK AND WHITE, n.d. ceramic, AFA Art Collection

Seeking a home for art

When Joan Chapman retired, she and Tom retained a number of their favourite artworks in their own personal collection. In 2015, the Chapmans were ready to downsize their personal collection and wanted a proper home for the art.

In particular, they sought a public collection that would ensure that the ceramic arts of Alberta would be shared broadly. At the same time, the AFA was seeking fine craft media to acquire and possessed the ability to store and care for the works. Perfect partners. 

Hidden gems

The significance of the Chapman’s personal collection was discovered during a studio visit to the Chapman home in August 2015. 

Significant pieces by Albertans were found in the holdings. Many created during periods previously unrepresented in the AFA Art Collection: an abundance of mid- to late-century modern Alberta ceramics. Hidden gems.

Flute

Tony Bloom’s Flute was an incredibly exciting find that was offered by the Chapmans after the studio visit. 

Tony Bloom, FLUTE, ca. 1970-2, ceramic, AFA Art Collection

Found in a drawer, Flute was one of Bloom’s earliest explorations of ceramics. Having later examples of Tony’s work in the collection, Flute was an incredible addition to the holdings for the purpose of curatorial research and documenting an artist’s career.

Narrow Neck Vase

Works such as Toru Hasegawa’s Narrow Neck Vase were discovered. Works such as this can be used as a reference point to note stylistic changes in an artist's practice over time. 

Hasegawa’s previous works are from the same period, but are in the medium of stoneware and represent his exploration of more sculptural forms. Meanwhile, this functional vase shows his delicate application of colour, mimicking brush strokes of traditional Japanese-style painting. 

Toru Hasegawa, NARROW NECK VASE, 1968, ceramic, AFA Art Collection

This work highlights Hasegawa’s formal training from Kyoto Sakuge University before he moved to Hinton, Alberta in 1967 to study in the studio of Frank Kiyooka.

A donation for all Albertans

In December 2015, the AFA Board approved a motion to accept the generous donation from the Chapmans. There were 33 artworks added to the AFA Art Collection's holdings, including 23 ceramics.

These works tell the story of the incredible evolution of studio ceramics in Alberta, the significance of one small central gallery, and its connection with the AFA Art Collection four decades later.

Generous donors, like Joan and Tom Chapman, help the AFA to acquire historic and contemporary artwork that increases the value of the art collection as a legacy for the people of Alberta. 

On September 29, 2022, we marked the 50th Anniversary of the AFA Art Collection. As part of the celebrations, we are sharing snippets from the history of the collection. 
Learn more about the celebrations! 

By Gail Lint, Arts Collections Consultant

In 2008 and 2009, the AFA supported a special curatorial initiative focused on building the holdings of the AFA Art Collection with contemporary Indigenous art. The initiative addressed the work of senior artists not properly represented in the collection, as well as a new generation of artists who are now making an impact.

For this initiative, artworks were acquired through a variety of sources. Curatorial assessment and recommendations by Indigenous artist Dr. Joane Cardinal-Schubert were an invaluable part of the process. Through Joane’s insight, wisdom and guidance, the artworks acquired have significantly enhanced the AFA's holdings.

Creating new relationships with Indigenous artists

Joane provided an avenue to acquire artworks by Indigenous artists unknown to the AFA Art Collection prior to 2008.

2008.085.001 Aaron Paquette, Aniti Anemos 2007, acrylic & gold leaf on canvas, AFA Art Collection

Through her mentoring and respected reputation in the art community she approached both established and emerging artists, conducting interviews and studio visits. She presented recommendations for curatorial acquisition into the AFA Art Collection.

Through the efforts of Joane, balanced by additional curatorial recommendations from the Collection’s Acquisition Working Group, the Indigenous curatorial initiative increased the AFA holdings by an incredible 73 artworks over a two-year period. 

2009.021.002 David Garneau, At the Fiddle Camp 2009, acrylic on canvas, AFA Art Collection

Narrative Quest exhibition

In celebration of Alberta Culture Days in September 2009, the AFA created an exhibtion of artworks by Indigenous artists entitled Narrative Quest. It was displayed in the gallery at the Capital Arts Building in Edmonton.

Curated by AFA Art Collections Consultant Gail Lint, Narrative Quest featured a selection of 60 artworks by 22 Indigenous artists from the AFA Art Collection, and included several of the artworks acquired through the Indigenous curatorial initiative.

2008.086.004 George Littlechild, Cross Cultural Examination #2 2007, ink jet print on paper,  AFA Art Collection

The exhibition combined a variety of traditional and contemporary styles in diverse media. The prevalent themes in these artworks are often based on storytelling.

These are stories that have been shared by the elders, stories of a search for understanding and meaning, stories of identity and belonging, and stories retold to preserve a threatened culture. They are stories immersed in the past, reflective of the present and hopeful for the future

The passing of Dr. Joane Cardinal-Schubert

On September 16, 2009 while installing the Narrative Quest exhibition in the Arts Branch gallery for the Alberta Culture Days celebration, word reached the staff that Joane Cardinal-Schubert had passed away.

2008.106.004 Joane Cardinal-Schubert, Flutterby (Birchbark Letter) 1998, mixed media on canvas, AFA Art Collection

Until that day, there had been no indication from Joane that she was ailing. She was determined to complete her curatorial contract and source artworks for the AFA Art Collection and, through her valiant commitment, she introduced new artists and assisted in building the representation of senior Indigenous artists.

The next day, during the official opening of the Narrative Quest exhibition, which was accompanied by a traditional smudge led by an Indigenous elder, there was a large raven sitting on top of the Capital Arts building above the location of the gallery. It was believed that Joane attended the ceremony in spirit.

The Narrative Quest exhibition was dedicated to the memory of Joane Cardinal-Schubert (1942 – 2009).

 “Let the next 
Generation 
be born 
with the knowledge 
of what has passed.”

(excerpt from the poem Keeper by Joane Cardinal-Schubert)

Narrative Quest on tour

Narrative Quest Exhibition (installation view) Capital Arts Gallery, Edmonton (Sept. 2009)

After the Culture Days exhibition at Capital Arts Building in 2009, Narrative Quest toured to:

• the Royal Alberta Museum in Edmonton
• the Red Deer Museum and Art Gallery (edited selection)
• the Museum of Contemporary Art in Calgary (edited selection)
• the Art Gallery of Grande Prairie

An edited selection of 32 artworks from the Narrative Quest exhibition then travelled to the Embassy of Canada, Prince Takamado Gallery in Tokyo, Japan (November 25, 2014 to February 27, 2015). It was met with critical acclaim.

Joane's ongoing legacy

In 2016, the National Gallery of Canada hosted a major retrospective exhibition featuring Alberta’s celebrated Indigenous artist from Cold Lake: Alex Janvier: Modern Indigenous Master (November 25, 2016 to April 17, 2017). 

Nine AFA artworks by Alex Janvier were included in the exhibition. Almost half of these artworks were acquired through recommendations by Dr. Joane Cardinal-Schubert.

2009.001.004 Alex Janvier, Untitled 2009, acrylic on canvas, AFA Art Collection

In 2017 the Nickle Galleries at the University of Calgary hosted a major retrospective of Dr. Joane Cardinal-Schubert: The Writing on the Wall. It was the first retrospective since her passing in 2009.

19 artworks from the AFA's holdings and an additional two artworks from the Government House collection were loaned for inclusion in the exhibition. An edited selection of these artworks toured to four other galleries across Canada until 2020.

1989.025.001 Joane Cardinal-Schubert, Moonlight Sonota: In the Beginning 1989, oil on canvas, AFA Art Collection

In part two of our look back at the tremendous impact Joane has had on the AFA Art Collection, we will take a look at the AFA's Fellowship for Indigenous Curators and the next generation of acquisitions by Indigenous artists.