Former Alberta artist, Henri van Bentum, passed away peacefully in Victoria at age 92. 

Immigrating from the Netherlands to Canada in 1957, Henri practiced in Alberta, Ontario, and B.C., as well as internationally. His work is included in more than 200 private and public collections, and he has had solo exhibitions in galleries in Paris, New York, Banff, Mexico City, Toronto and Montreal.
 

An obituary is published on the McCall Gardens website. Our condolences to his wife Natasha van Bentum, and his family and friends. 

About the artwork

The AFA has one artwork by Henri van Bentum in the AFA Art Collection: Spatial Rhythms (1982). This artwork is representative of a major transition in the artist's practice, as explained in his obituary:

While painting ‘en plein air’ at Moraine Lake, two faculty members of the Banff School of Fine Arts came upon him unexpectedly. When they saw what was on his easel, Henri was invited to attend the school’s summer session (which he didn’t know existed). Having no money, they waived the usual fees.

Ironically it was in the Rocky Mountains that Henri discovered he was a born abstract painter, and left representational art behind, never turning back. (...)

Later, back in the Rocky Mountains 1980-85 where [his wife] Natasha worked at The Banff Centre, Henri embarked on a new series in watercolour, “Spatial Rhythms” and gave a solo exhibition at the Peter Whyte Gallery.

In the AFA's 2020-25 Collection Development Plan, one of the selection criteria of artwork by artists assessed to be core to the collection, includes "strong example of the artist's work [...] reflecting the pinnacle of a transition or paradigm shift in an artist's oeuvre..." (page 11).

In this respect, Spatial Rhythms is a good example of how the AFA uses its collection to help tell the stories of the artists who have lived and practiced here, and contributed to the development of visual arts in Alberta. 

• learn more about the AFA's collection development policy

Image description

Five rows of pink, purple, lavendar and blue painted lines on a light pink background. While the lines on the top row are mostly vertical, the rows below include lines painted at different angles, giving the impression of movement or of falling.

The AFA was saddened to learn of the passing of former board member and Alberta artist, Harry Kiyooka, on April 8, 2022. 
 

From the news posted on the Kiyooka Ohe Arts Centre:

Born in Calgary in 1928, Harry overcame prejudice and poverty to become an artist. He eventually received four degrees, including a Bachelor of Education, a Bachelor of Fine Arts, a Masters of Art, and a Masters of Fine Arts, all before turning 30 years old. In 1958, Harry left Canada to study art in Italy. Upon his return to Calgary in 1961, he began a teaching position at the new University of Alberta, Calgary campus. In 1988, Harry retired from the University of Calgary after 27 years with the rank of Professor Emeritus of Art.

Harry co-founded the Kiyooka Ohe Arts Centre in 2007 with his wife, sculptor Katie Ohe. 

The AFA's connection to Harry Kiyooka

Harry served on the board of the Alberta Art Foundation (AAF) from 1977 through 1981. The AAF was one of three government art foundations that were eventually combined to form the Alberta Foundation for the Arts (AFA) in 1991. (Learn more about how the AFA was founded.)

The AFA Art Collection currently holds 17 artworks by Harry Kiyooka, and the Government of Alberta holds an additional six of his artworks in provincial art collections.

The two artworks featured on this post are from the AFA Art Collection:

• SKY SCAPE (serigraph) is estimated to be created during the late 1960’s
• RED CONTIGUOUS was painted in 1972

Harry was heavily influenced by the 'Op and Pop' art movement during this period. He was one of the first artists in Canada to use the medium of serigraphy in  a contemporary style. The artworks employ bold colours, hard edges and geometric shapes to create an optical experience.

Visit the AFA's Virtual Museum (click button below) to view the rest of Harry's works in the AFA's collection.

Sky Scape will be included in the upcoming Alberta Society of Artists (ASA) Travelling Exhibition (TREX) entitled, Montgeries: Montages and Memories from the AFA Collection. The exhibition is scheduled to begin touring in September 2022 and will travel throughout Alberta for three years. The theme of the exhibition is based on the AFA Art Collection's 50^th anniversary.

Image descriptions

Sky Scape - The image is dominated by block of solid bright yellow colour, interrupted by a series of vertical bands of different widths and colours to create an uneven rectangle. The bands of colour include peach, green, orange, grey and blue, and there is also a thin horizontal line of blue placed across the top of the yellow block. 

Red Contiguous - The image contains a series of red, maroon and grey horizontal bands of colour with gaps of space in between each band. A vertical band of dark grey runs through the middle of the painting, which disrupts the horizontal gaps, causing them to diverge in a variety of angles.

In celebration of International Women’s Day (IWD), we share the work of artist Miruna Dragan.

IWD is a time for us to recognize, celebrate and reflect on the achievements, stories and creativity of the many unique women of our past and present.

About the artwork

The artwork's title, When We Stand On the Threshold Between Two Worlds Our Soul Is Engulfed With Dreams, is a direct quote from Iconostasis, a book by Russian Orthodox theologian Pavel Florensky.

The artist, Miruna Dragan, responds to observed synchronicities towards subjective re-imaginings of archetypal myths and potent landscapes. Her work thematically reflects dispersion and transcendence. This artwork, like her others, offers itself as a tool for mystical experience while challenging assumptions about nature and culture.

About the Artist

Miruna Dragan, born in Bucharest, received an MFA in painting/printmaking from Rhode Island School of Design in 2001. She has been an Associate Professor at the Alberta University of the Arts since 2009. Dragan is a post-conceptual artist whose work investigates themes of locality and transcendence.

About IWD

International Women’s Day is celebrated annually on March 8 around the globe. IWD has been celebrated globally since 1911 and is an important day that highlights the social, economic, cultural and political achievements of women.

There are many great women storied and unsung that have greatly influenced Alberta’s art scene, helping to make it what it is today. We encourage you to celebrate women by taking part in an IWD event near you.

WILL, Mary Louise Shannon
September 9, 1944 – Sampson, New York
October 20, 2021 – Calgary, Alberta
 

Mary Shannon Will, an artist known for colourful, witty ceramic sculpture and vibrant abstract painting, died of ALS on October 20 at Chinook Hospice in Calgary. A senior member of the Calgary art community, she was 77.

Shannon Will was born in Sampson, New York in 1944. Her childhood was spent in Seattle, Washington and then in Madison, Wisconsin, where Mary completed high school. Mary credited her father, an amateur artist who served in the US Navy and later worked in the Department of Sociology and Anthropology at the University of Iowa in Iowa City, for encouraging her creative bent. After a year at Coe College, a liberal arts college in Cedar Rapids, Iowa, she studied ceramics at the University of Iowa (1964–1967), the Tuscarora Pottery Summer School (1966–1967), and the University of New Mexico in Albuquerque (1970–1971). Mary moved to Calgary with her husband, artist John Will in 1971, and immediately set up her ceramic studio at their home in Lower Mount Royal.

Albuquerque was Mary’s life-long second home, a place she returned to annually. She loved taking trips into Santa Fe with her sister Michelle and her dogs to comb second-hand stores for unique pieces of turquoise jewelry and collectibles. While traveling throughout the southwestern United States and Canada, rarely would Mary and John miss a roadside attraction where a postcard, souvenir “floaty pen,” antique thermometer, or western-themed café cup and saucer would await them. Trips to New Mexico often included visits to Taos, Chaco Canyon, Acoma, Frijoles Canyon, and other ancient Pueblo sites that are home to the diverse Indigenous peoples of the Southwest and are places Mary held dear since first visiting them with her parents. Over the years, the people, light, colour, and cultures of the Canadian Prairies, New Mexico, and the Southwest intertwined to weave a strong network of relations and experience that shaped Mary’s life and art.  

Mary made art for over 50 years. During the 1960s and early 1970s she made functional studio pottery, but her pots quickly morphed into brightly coloured ceramic sculptures that recall sensuous botanical and biological organisms. Around 1980 Mary visited the Nova Scotia College of Art and Design while John taught summer classes there. Here her existing interest in systems, rules, and chance blossomed to guide her use of colour and pattern in a series of abstract geometric ceramic sculptures made between 1978–1985. These works with their glowing glazed surfaces of solid and graduated colour precisely patterned with hundreds, sometimes thousands, of tiny dots and dashes mark the trajectory of her practice for the years to come.

Mary began to make prints, drawings, and paintings using highly subjective systems and processes from the mid-1980s on. In the mid-1990s, Mary was an artist resident at the Banff Centre for the Arts where she discovered a synergy between the pixelated digital technology of Photoshop and her method of working with generative systems, patterns, chance, and colour. After much trial and error—and good-hearted collaborative toil with the computer technicians—Mary began producing archival inkjet and mixed-media works with paint where grids of digital pixels glitch and dissolve under the artist’s subjective systems.

From 2005 on Mary returned exclusively to painting small, intimate, and square works where the layers of colour glow and shimmer to create a jewel-like depth. These works are intuitive responses to the people, places and things that shaped the artist’s experience and perception of the world in which she lives: a trip to India with her friends Gisele Amantea and Peter White, a place in New Mexico, a residency with Jeffrey Spalding at the Tao Hua Tan International Artist Retreat and Residency (China), a shape from a doodle done while watching film noir. Mary, being a bit of a rascal, was unlike other conceptual artists and never allowed the system to completely override her personal responses to the process or materials. Beauty was her endgame.

Mary, you are as unique, eclectic, and colourful as your work. We will sorely miss you Mary but are truly grateful to have shared in your life. Thank you for the rich legacy you have left us in your work, through it the depth and richness of your life will live on in full colour.

Mary Louise Shannon Will is survived by her husband John Arnold Will, her sister Susan Michelle Shannon (Los Angeles, California), her brother John Thomas Shannon (Missoula, Montana), and is predeceased by her brother Robert William Shannon.

You can view more of Mary's artworks in the AFA's collection through the AFA Virtual Museum.

Click the arrows above to scroll through the images. 

It's with great sadness that the AFA has learned of the passing of painter Harold Feist. 
 

Harold Feist was born San Angelo, Texas and was a dual citizen of Canada and the United States.

Feist received a B.F.A. (Honours), from University of Illinois (Champaign) in 1967 and an M.F.A. (Hoffberger Fellow) from Maryland Institute, College of Art, Baltimore, ML in 1969. He was mentored and championed by the influential New York art critic Clement Greenberg and painter Jules Olitski.

Feist eventually came to Canada to teach at the Alberta College of Art (now the Alberta University of the Arts) from 1968–74. He later taught at Mount Allison University, Sackville, NB and at the University of Guelph.

Beginning in the 1960s and continuing well into the 21st century, Feist was featured in numerous solo and group exhibitions across Canada and in the United States. He was an active and vibrant abstract artist, who was known for his large Colour Field paintings in acrylic and latex. His work can be found in public and private collections across and the United States and Canada including the Museum of Fine Arts (Boston, MA) and Art Gallery of Alberta (Edmonton, AB). The AFA is also pleased to have three artworks by Harold Feist in our collection. You can view them in the slideshow above. 

Harold Feist was a father to four children, including singer/songwriter Leslie Feist, who uses her surname Feist as her stage name. 

AFA Art Collections Consultant Gail Lint was fortunate enough to have Harold Feist as professor at the University of Alberta in the 1970s, and she'd like to share a fond memory she has of him: 

“Harold Feist was a professor of mine for the visual art fundamentals course at the U of A during the 1970’s. He co-instructed the course with Graham Peacock – it was a very interesting summer!

Harold was an excellent instructor, and a story he shared with me was how he arrived at titles for his abstract paintings. He was standing on a street corner and a piece of paper blew against his leg. He rescued it only to discover a pamphlet from the horse races. He adopted the names of the horses to the title of his paintings. I believe the AFA painting ‘High a Silver’  (shown above) is one of those titles.”

Our condolences to Harold Feist's family and friends. 

Read Harold Feist's obituary. 

Read the Globe and Mail's tribute to Harold Feist.