Fall 2013

ALBERTA COLLEGE OF ART AND DESIGN FACULTY ASSOCIATION

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Riley Rossmo

Student Michael Whitely Assists ACAD Faculty in Research

Ronald Hawker

This summer, I co-authored a paper that we presented at the Seminar for Arabian Studies at the British Museum in London. The Seminar is the annual meeting of the British Foundation for the Study of Arabia and the papers tend to be strongly archaeological in method and intent.

Normally, I present at three or four conferences a year and wouldn’t bother telling anyone about this, except that this year the Seminar was different. One of my co-authors was third year drawing student Michael Whiteley from ACAD.

Michael approached me after one of my introductory classes because I had been using the simple 3-d CAD software Sketch-Up to show students a historic building. There were a few questions about the software and I shared my experiences working with it. Michael was

interested in learning more, so I asked him if he wanted to work with me on a project. We obtained funding through Marianne Elder and the Student Recruit-ment and Retention office to pay Michael for a semester.

I gave him the plans of an abandoned fishing village in Qatar, a small country in the Arabian Gulf where I sometimes work. Michael then imported the plans into Sketch-Up and created a 3-d digital model of the town.

At different stages in the project’s devel-opment, Michael completed a series of computer-based analyses. The first was after he had imported the 2-d plan of the village. He ran a spatial syntax analysis using freeware produced at the University College London (UCL) called DepthMap. The program analyzes the underlying geometric structure of the overall settle-ment pattern and how individual houses relate to each other.

After Michael had created the full 3-d

model of the village, he ran it through climactic analysis software. Typically, this kind of software is used to analyze the environmental performance of modern architecture and it’s rare to use it on these kinds of buildings. Michael’s analyses revealed something new about the build-ings. The normal understanding of how mudbrick works in the Gulf is that it acts as a good insulator, keeping heat in or out depending on the season. What Michael discovered is that the mudbrick acts as a stable envelope, with the small wind vents in the walls lowering the temperature by as much as 5 degrees Celsius. When the temperature is the high 40s, that’s a considerable comfort.

My whole role in this was to correlate the data that Michael produced with the information that I have on how build-ings and settlements functioned socially prior to the advent of oil. Both processes revealed interesting overlaps between the quantitative and qualitative data and the presentation was very enthusiastically received.

t h i s s e a s o n, we share with you an ACADFA Newsletter with mostly visual content. Nothing wrong with that! We are, after all, a college of visual practitioners. We look forward to any content that comes our way, especially if it is visible.

Speaking of the visual, as part of some research on early Modern design, I hunted down some early Adolf Loos and Otto Wagner architecture in Vienna this summer. The examples above show the development early architectural modern-ism from the Jugenstijl example to the stark, unadorned building designed ten years later.

I’ve also been trying to knock my head against the visual. This summer I met with my advisor, Catherine Malabou, whose philosophical concept of plasticity I’ve found helpful in trying to understand how we use images—in design, art and cognition—to mediate our relationship to both the future and to our own finitude. The following is an excerpt from my first modest attempt to think it through. Let me know what you think!

Design and plasticityDesign is the characteristically anthropic behaviour of shaping a world in which we may live, in ways that we prefer. We must first prefer to live: this is a given, which allows us to sustain ourselves in a world we prefer. Like the wall that builds around the material that will become cell, our preference is both an assertion to live and protection from the vicissitudes life throws us in return. We can then design a life that we prefer.

Preferences are the cognitive labour of imagination. We imagine the world we prefer, which interacts with the world itself and shapes us in its turn. What we cannot imagine we cannot per-form. The image consists of metabolic interactions between us and world. It is our primary labour.

Plasticity gives shape to the world and ourselves. Plasticity be-comes us. It begins in the schema of our genetic code, and through a process of creation and destruction, forms our phenotype. Through plasticity we are shaped and take shape, given being, per-mission to be in the world. If it is not our mission to be in the world, we explode, we cease to be. It is in the movement of plasticity that is

worked out how being comes to be. It is in this way and that way that being comes to be, or ceases to be.

Plasticity happens at all times, in all places, at every level of life. It happens within biologies, ecologies and ideologies. It in-forms evolution, undirected and a-teleological. It may happen in ways we prefer. The multiplicity of preferences of the many, when viewed en masse and in retrospect, make appear the movement of history with its causes and their effects. Reason is plastic; the laws of logic its retrospective determination. The world, indeed the universe itself is plastic, its designing power the result of the prefer-ence to be rather than not.

Design happens. It may be directed to happen or left to happen, as it will. We seek to design in ways that we prefer. When viewed up close, our preference resembles a throw of the dice, made at the moment of indecision, with intent expressed in the act of the throw. The re-sult is known retrospectively, as something that might thrive in the world. Design is an act of giving preference to something, so that it might prefer to be.

—to be continued…or not!

The architecture of Otto Wagner in Vienna. Left: The Majolicahaus building, 1898–1899. Right: the Neustiftgasse 40 building, 1909-1912. Photo: John Calvelli.

Editor’s Letter

John Calvelli

He spent a summer session working and teaching at NASCAD in 2008 and this year was one of three presenters at the 1,000 Miles Apart Conference hosted at ACAD. Sean exhibits his work nation-ally, is a regular contributor to ceramic and craft publicatio ns, and gives lectures throughout North America.

“…I am really thrilled to be working and teach-ing here at ACAD this academic year. My experi-ences with Canadian students attending school in the States and my brief time in Halifax left me with the feeling that there is a prevailing quality in art education here. I have been nothing but impressed with the rigor, leadership ability, and creativity that the students at ACAD display.”

Sean O’Connell, 2013-2014 Visiting Artist in Ceramics, School of Crafts + Emerging Media

s e a n o’c o n n e l l i s a functional potter from the US. Just before moving to Cal-gary to take up his position at ACAD, he spent two years as an Artist-in-Residence at the Archie Bray Foundation in Helena. Sean earned his BFA in Sculpture from the Kansas City Art Institute in 2001 and his MFA in Ceramics from the School for American Crafts at RIT in 2009.

Elliptical Serving Dish, Porcelain, 4.5” x 15” x 9”, 2013

photo by artist

Tivadar Bote Designs the First and Second Coin in the Untamed Canada Pure Gold /Silver Coin Series!

i ’d l i k e to s h a r e this second coin de-sign project I did for the Royal Canadian Mint, available worldwide this Septem-ber 2013. This project started in 2011. Both the gold and silver versions are now available for collectors from around the world. I was previously selected for the Arctic Fox design (on the“Best Seller” and “Most Popular” lists); now, the Pronghorn Antelope design has been selected, which supports the first design and finish.

Here is a brief outline from the site regarding the second design of the Pronghorn Antelope for the Untamed Canada Series:

“Although reminiscent of the antelope of the African continent, Antilocapra Americana is the only member of its globally unique Antilocapri-dae family, which is native to North America. It is distinguished from other large, hoofed game animals by its unique keratinous, curving horns with their distinct forward-facing prongs. These are shed annually in late fall and begin growing in spring, returning to their full length by mid-summer. Although the Pronghorn does not jump higher than about 90 centimetres, this metre-high, reddish-brown ruminant can sprint at speeds of about 85 kilometres an hour and run great distances at about 40 kilometres an hour.

Every day, the dramatic tales of the untamed wilderness are played out across Canada’s vast landscape—as they have been for untold millen-nia. Order your coin today!”

You can read more on the Royal Canadian Mint’s website at: http://www.mint.ca

Eclipse 03: Hermes hints at red 2012

96 inches, ink on dibond steel

Laurel Smith,School of Visual Arts, Painting

i h av e recently completed my doctoral research in the Faculty of Education’s at the University of Calgary. There, I identified “the moment of inertia,” the hesitation that occurs when a viewer considers what he or she is viewing. My research centered on the question

“What is the right red?” and was initially structured as an exemplar of practice-led, hermeneutic inquiry. That search resulted in early dissertation drafts designed as a rocket launch countdown. My goal was to present education doctoral research as a metaphoric reading of art. When I was challenged to present my research in the

traditional academic format I recognized and articulated my own moment of inertia. I refocused and integrated the theories of Transformative Learning and Arts-Informed Inquiry to posit viewers are learners. Meanwhile, my art practice continues to explore words, images, and phenomena that are red.

Derek Besant/Bret Reinbold,Drawing/Print Media,School of Visual Arts

Generally, we publish only the work of ACADFA members. However, I was impressed that a work by Bret Rein-bold, the technician in Print Media, was acquired by the prestigious Pushkin State Museum of Fine Arts in Moscow. He agreed to let us publish it. Re-birth was

curated into the Novosibirsk Graphic Arts Biennial by ACADFA member Derek Besant. It is one of 7 images from 7 artists selected to represent Canada in the Ca-nadian Digital Experimental Printmaking section of the Biennial. —Ed.

Re-birth. Bret G. Reinbold. Digital print. 4’ x 4’. 2011

Stampede Bar U Roper, 2011

Sweeping a Clean Floor, 2011

Dave Casey, First Year Studies

w e l l h e r e a r e some images from the show I had at the Winter Garden at 8th Avenue Place. As I work somewhat slowly it was a bit of a look back over the last 5 years. Some of the work came from a residency I did with the Stampede, other work is simply part of the practice. Jacek Malec of Art Forum Gallery curated the show and Bart Habermiller through

SQ Commons produced it. As for artist statements, I find that the more I try to write about the work the less interesting it becomes. I’ll include the following from a questionnaire I filled out years ago.

My art is an attempt to find a place to stand and create identity. It is a slow, quiet conversation about how a painting

might work and how that painting might inform a way of life. It is a meditation on how colour, shape, and texture fit together. The paintings are my internal dialogue made visible. What informs the work is that to which I pay attention.

Mountains and Window, 2013

Requiem, 2008

Hutch Flying in the Studio

Chris Cran Follows ACADFA Editor to Small Town in Switzerland

John Calvelli

h i s s u m m e r, in a tiny town called Saas-Fee close to Zermatt and the Mat-terhorn in Switzerland, I was given a journal called Poiesis: A Journal of the Arts and Communication. The European Graduate School, where I go for my PhD seminars, publishes it yearly. There was a fine cover image that seemed to represent very thick, black and distressed paint strokes. When I located the credit, I found out our own Chris Cran from

Alberta, Canada contributed it. Chris had this to say: “The arts editor at Poeisis saw the biennial last fall at the National Gallery (Builders) that had my five ink pieces in it. She contacted my dealer in TO (Clint Roenisch) and it went from there. I gave them more options than just the NGC ink pieces and a work that had sold in Calgary got the cover!” For more information about Poiesis, visit www.egspress.com.

I am, of course, impressed that the National Gallery purchased four works from three different stages of Chris’ career; and that The Department of Foreign Affairs of Canada purchased seven of his paintings to be placed in an overseas embassy. But what will stick with me will be seeing a modest reproduction of a wonderful image on the cover of an obscure academic journal at 1,800 metres in a small town in Switzerland.

Cover: Writing the Moon. Ink and acrylic on foam core. 11” x 8.75”. 2010

Charts. Oil on canvas. 54.5” x 65.5”. 1985

My Face In Your Home. Enamel and oil on plywood. 38.5” x 97.5”. 1986

Mirador. Acrylic on canvas. 60.25” x 48” . 1999-2000 Black Painting #1. Oil on canvas. 4’ x 3’. 1993

When the reality andpleasure principles collide.Mireille Perron

i h av e d e s c r i b e d in a previous issue of the ACADFA Newsletter my project Camaraderie, as Calgary 2012 franco-phone artist laureate. As the project was completed this summer, the intention of this update is to emphasize the pleasure and privilege I had in working, among others, with an ACAD student and two alumni. Chris Kohanik, a VCD design student who will be graduating this year, conducted research in typography, as well as producing the files needed for

laser cutting close to 500 mirror-words. Jennifer Creighton, an ACAD alumna in Drawing who graduated in 2008, was Calgary 2012, program coordina-tor extraordinaire. Jennifer organized all my visits with the francophone schools, coordinated my attendance to events, and kept track of the budget. And last but not least, Larry McDowell, an ACAD alum-nus in Sculpture from 2008, installed the work with me in six schools and one city window. Moreover, Larry became a father

for the first time during the same period with partner Lisa Benshop, alumna in Painting from 2008. Larry calculated that he planted close to 2,000 nails along the way. In the image you see, Larry is installing a series of mirror-words at école Ste-Marguerite Bourgeois. I am very grateful for everyone who contributed to the success of Camaraderie, but I have a special sweet spot for the above men-tioned contributors.

The opinions expressed in this newsletter are those of the authors

and do not necessarily represent those of the Alberta College of Art &

Design Faculty Association.

©Alberta College of Art + DesignFaculty Association

and contributors 2013

ACADFAEXECUTIVE BOARD

2013-2014

p r e s i d e n t

Alex Link

v i c e p r e s i d e n t/t r e a s u r e r

Chris Willard

SecretaryHeather Huston

p ro f e s s i o na l a f fa i r s r e p

Lisa Murray

nac c h a i r

Natali Rodrigues

g r i e va n c e a dv i s o r

Jeff Lennard

n e w s l e t t e r e d i to r

John Calvelli

ac a d e m i c c o u n c i l r e p

Justin Waddell

s e s s i o na l r e p r e s e n tat i v e

Dick Averns

b oa r d o f g ov e r n o r s r e p

Ian Fitzgerald(non-voting)

acadfan e w s l e t t e r g u i d e l i n e s

&c a l l f o r s u b m i s s i o n s

we l i k e i m ag e s! You can send images for inclusion without them being part of an article.Send a modest selection of print-ready 300dpi tiffs, at approx. 4” x 6” in RGB colour, or greyscale. Include a clear indication of the content in your image file names and if the images support an article, also add a note in your copy about where you might like images e.g. Fig. 1/Ill. 2.Pl e a s e i n c lu d e a t i t l e for your article or submission. li m i t f e at u r e a rt i c l e s to 2000 words.re m e m b e r to include any credits, acknowledgements or photo captions.af t e r yo u r s u b m i s s i o n has been received you’ll receive an acknowledgement from the editor or ACADFA office manager.Pl e a s e d o n’t r e v i s e or further edit your submission until you have received feedback from the editor or the ACADFA office, and then use the track changes for any further revi-sions.la s t ly, ideas and proposals are welcome at any time! We sometimes work on items over an extended pe-riod so don’t feel constrained by our twice-yearly deadlines.

ac a d fao f f i c e m a nag e r

Patti dawkins

OFFICE 547

OFFICE HOURSTUES/WEDS 10AM-5 PMTHURSDAY 10AM-2PM

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What’s On! Prime Time TV LisTings, Week of November 17, 2013, ChanneL 145

by yours TruLy,

C.A.(Binky) Willard

SuNday 8:00 Pm 9:00 Pm 10:00 Pm 11:00 Pm 12:00 am

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omgyg2bKJP freaks out on Facebook after samantha Tweets a dis about his Tumblr masterpiece that susan added to her Pinterest.

Lost! (2005) a new employee embarks on a quest to find his office and discovers the dark side of the aCaD hallways. ★★

meetings in reviewa review of meetings. next week: roundup of the week’s meet & greets.

Designing with Friends(12-5:30)

moNday 8:00 Pm 9:00 - 11:00 Pm 11:00 Pm 12:00 am

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Who’s the boss?(program information unavailable)

Deadline 8:59 am. (1982) an evil force seems to be preventing Derby from completing his art project. ★

Cooking with glassQuick and easy huevos rancheros at 2100˚ F.

up all night (Formerly, Designing with Friends)(12:10-8:00)

TueSday 8:00 Pm 9:00 -11:00 Pm 11:00 Pm 12:00 am

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Quinns and needlesJosie Quinn misplaces the Venus of Willendorf in Pat’s portfolio.

but is it art? (Documentary) (2013)What’s that in the road ahead? What’s that in the road, a head? ★★★★★

Time Warp (and Weft)Dakota realizes the devil does indeed find work for idle hands.

unblinking eye (Formerly up all night) (12:30-4:39)

WedNeSday 8:00 Pm 9:00 -11:00 Pm 11:00 Pm 12:00 am

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yoLo gerry learns the hard way that yoLo doesn’t apply to the internet.

Joined at the hip (2012)Sparks fly in the welding area when Tina lifts her faceshield and notices a hot exchange student. ★★★

LipDubFrancis confirms her suspicions that nobody was saying anything important.

aCaD-CPaCWatch live. Topics: FPaC, FaC, aC in relation to CaQC.

ThursDay 8:00 Pm 9:00 Pm 10:00 Pm 11:00 Pm 12:00 am

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The Vangogh monologuesmonologues about tools of post-impressionist male empowerment.

reach for the stars! (1987)Drew tires of explaining his art while Chad finds fascination in a mirror. ★★

Paint and be Fitarm muscles. up Down, up Down.

The Late, Late show has been preempted by The unblinking eye(12-6:45)

friday 8:00 Pm 9:00 Pm 10:00 Pm 11:00 Pm 12:00 am

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Collar around the ringDetective Pry tracks an international jewellery ring, but is he after a nefarious group or just one shiny object?

brat-Pack (2009)It’s payback when the first-year brat-pack’s flack attack lacks slack against backpack hacks. Thwack! ★★★

Contrast and CompareDevon can’t decide whether to be an incubus or a succubus.

Contrast and Campari(repeat) an exposé about the dark side of drinking and grading.

SaTurday 8:00 Pm 9:00 Pm 10:00 Pm 11:00 Pm 12:00 am

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style by Panel JuryThe Professors get upset when Dina won’t follow their helpful hints.

Through a Lens Darkly (1998)a photo student discovers that what he thought was reality is really a projection of his own thoughts manifested inside his digital camera. ★★★★

Painting with Daisy!Today’s subject: Floccinaucinih-ilipilification

red eye (Formerly The unblinking eye)

What’s On! continued from inside

C.A.(Binky) Willard