UNews - Main Gallery

Closing de Grandmaison

trevor.kenney — Wed, 19 Jun 2013 17:40:51 +0000

The Nicholas de Grandmaison: Recent Acquisitions exhibit Closing Reception and Hoop Dance Performance takes place Tuesday, June 25 at 7 p.m. in the Main Gallery

Each face, with its deep lines, juxtaposing colours and gentle strokes, tells a story – a story of honour, dignity and character; joy and sorrow; life and death – a story of a people in the midst of transition.

By capturing the faces of Canada's First Nations people, painter Nicholas de Grandmaison (1892 – 1978) left a deeply personal record of history.

A Russian aristocrat forced out of his homeland, a prisoner of war and eventually an immigrant to Canada, de Grandmaison felt an intimate connection to the First Nations people and empathized with the massive cultural changes they were forced to endure during the mid-20th century.

From the 1930s up until his death, de Grandmaison was struck with an urgency to paint the Plains Indians because he believed their way of life was quickly disappearing.

Nicholas de Grandmaison travelled across the Canadian Prairies documenting history through the faces he painted. Recognized as one of the most significant portraitists of First Nations people in Canada, de Grandmaison's own story began across the Atlantic.

Nicholas de Grandmaison. Courtesy of U of L Archives.

Born in Russia in 1892, de Grandmaison's roots trace back to France and a great-grandfather who was rescued during the French Revolution. Because of his heritage, de Grandmaison's early years were privy to upper-class privileges his forefathers had been afforded by Catherine the Great a century earlier, including art lessons and learning about social graces as part of his schooling. After graduating from college, he attended a military school and was trained as an officer.

When the First World War broke out, de Grandmaison, who was in his early-20s, served as a soldier in East Prussia where his unit suffered a terrible defeat and he was sent to Germany as a prisoner of war. He spent a number years as a prisoner of war in Germany where he put his artistic talent to work, drawing his fellow prisoners and even some of the camp's officers.

Eventually, de Grandmaison regained his freedom, but his life was far from worry-free upon returning to Russia. As a monarchist, he ended up fleeing his civil war-ravaged homeland and escaping to Poland/Germany.

In time, de Grandmaison made his way to England. In London, with support from his friends, he attended St. John's Wood School of Art. That creative journey, however, did little to ease de Grandmaison's constant fear of deportation. So, using the winnings from a horse race wager, he set sail for Canada in 1923.

Upon disembarking in Quebec City, de Grandmaison connected with some harvesters who were headed to Manitoba. His career as a farm labourer, however, was not to be. After doing multiple odd jobs, de Grandmaison secured work at a large commercial art firm in Winnipeg. There, in addition to joining the Winnipeg Arts Club, he spent the next few years illustrating catalogues, painting portraits of chief justices, politicians and the children of local business leaders. But it wasn't until de Grandmaison ventured to northern Manitoba in 1930 that he found his true calling in life: capturing portraits of First Nations people.

He once wrote the First Nations people he saw inspired him "to forget the past and look forward to see and paint them all."

Nicholas de Grandmaison, Wolf Tail (Apisoh'soyi), 1960. From the ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Collection. Gift of BMO Financial Group, 2012.

Wanting to capture First Nations people in an authentic setting ultimately compelled the artist to move to Alberta where he set out to paint First Nations people who lived far away from cities and towns, and consequently had managed to retain their customs.

While in Alberta, de Grandmaison married Sophia (Sonia) Orest Dournovo, a talented sculptor in her own right, and together they went on to have five children – all of whom would grow up to become artists or work in some facet of the art world.

When the children were young, de Grandmaison worked on a number of commissions as a way of supporting his growing family. Despite these everyday responsibilities, he remained devoted to drawing First Nations people.

Specifically, de Grandmaison was fascinated with his subjects' faces. In them, as he once described, he saw "…all the sorrow, oppression and history…indelibly written. They have character, colour and history in their blood."

But a rich past wasn't the only thing that de Grandmaison saw in the subjects; he was also keenly aware that their cultural practices were under great pressure from assimilation.

In fact, when the artist had arrived in Canada, First Nations people had been moved onto reserves and were being taught how to farm. This dramatic shift, as de Grandmaison came to understand, posed a serious threat to First Nations people's traditional way of life. So while first-hand memories were still vibrant, de Grandmaison felt duty-bound to document the history of First Nations people.

He accomplished this goal in two ways: by recording First Nations people as they told stories in their own languages and by preserving their features in pastel drawings. Today, those recordings and works of art – many of which are housed at the ��Ѹ��Դ��߿�Ƭ of Lethbridge – serve as proof of de Grandmaison's unwavering loyalty to Canada's First Nations communities.

"There are not many paintings that actually depict First Nations people as individuals," says Josephine Mills, director/curator of the U of L's Art Gallery. "De Grandmaison's paintings focus on the honour, dignity and character of each person. He didn't see First Nations people in a stereotypical light; he tried to show their individual personalities and life stories."

Nicholas de Grandmaison, Blackfoot Child, 1936. From the ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Collection. Gift of BMO Financial Group, 2012.

Not only a technically skilled artist, Mills says, de Grandmaison possessed the exceptional ability to capture an individual's unique personality. Through careful colour selections, precise compositions and gentle lines, he was able to depict subjects' expressions as well as their character.

De Grandmaison's attention to detail was evident in every aspect of his work. For example, he recognized the importance of portraying First Nations people in their real clothing. It was a commitment to authenticity that stood de Grandmaison apart from other portraitists who chose to dress First Nations people in ornate and often culturally inaccurate costumes.

Instead, de Grandmaison was deeply deferential toward First Nations people, and this approach did not go unnoticed by First Nations communities. In fact, as a symbol of the respect and affection that First Nations people felt for de Grandmaison, he was named Chief Little Plume, honorary chief of the Piikani Nation. When de Grandmaison died in 1978, he was laid to rest on the Brocket Reserve in southern Alberta.

Thirty-five years later, the gestural, unfinished qualities of de Grandmaison's drawings continue to intrigue viewers and tell an important part of the Canadian story. And thanks to a recent gift to the U of L, even more people will now be able to appreciate the late artist's work.

In February 2013, the BMO Financial Group donated 67 original pastel portraits by de Grandmaison to the U of L's Art Gallery, along with $50,000 to care for and create access to the works. The collection, which is valued at more than $1.6 million, spans a period of more than 30 years and traces the development of de Grandmaison's talent and facility as one of the most important painters and portraitists of western First Nations people in Canada.

The donated portraits are part of a portfolio of works by de Grandmaison that were purchased by BMO in 1978 from the artist's family following his death. To that end, the collection now has an ideal home at the U of L, says Robert Hayes, senior vice president, prairies division of BMO Bank of Montreal.

"The ��Ѹ��Դ��߿�Ƭ already owns one of the most comprehensive collections of artworks and artifacts by this important Canadian portraitist. We are excited to enhance this collection with a gift that will allow it to continue to serve as a resource for students, faculty and independent scholars," says Hayes.

This gift of works from BMO Financial Group joins over 170 drawings, paintings and personal archival items (most of which have been deemed to be of outstanding significance and national importance) already housed by the U of L Art Collection and Archives, which the de Grandmaison family previously donated to the U of L.

"The ��Ѹ��Դ��߿�Ƭ takes seriously what it means to be entrusted with these cultural treasures," says Mahon. "These pieces hold special meaning for the U of L as most of de Grandmaison's work was created in this area. I find it fascinating that the communities Nicholas de Grandmaison was passionate about are the same communities the university remains passionate about today."

Being chosen as the keeper of the additional portraits is a testament to the ��Ѹ��Դ��߿�Ƭ's overall approach to art.

One of the most significant art collections in Canada, the U of L's Art Gallery's holdings number over 14,000 objects from Canada, America and Europe – and those works are not simply kept in storage on campus. "The gallery does a great deal with its works," says Mills. "We exhibit them, send them on tours, loan them to other galleries and use them to generate research."

In addition to using the works as teaching and research tool for faculty and students across the ��Ѹ��Դ��߿�Ƭ, there are plans to initiate an oral history project that will collect stories from anyone who knew de Grandmaison and any of the subjects in his portraits. Mills has also commissioned First Nations artists, such as Jeffrey Thomas, to create new works in response to de Grandmaison's artwork, and there are future plans to loan the collection to other museums and create a touring exhibition.

"This generous gift will significantly enhance our collection, exhibitions, and public programs and thus be an excellent resource for our community," says Mills.

Most importantly, the gift preserves a part of the past.

"While we tend to understand history as big events, this piece of Canada's history focuses on the individuals and their stories," says Mills. "If we didn't have these paintings, we would be missing an important part of our Western heritage."

Editor's note: This article references Drawn From The Past – Nicholas de Grandmaison by Gordron Synder, Introduction by Joan Murray, as a factual resource.

The faces of history

trevor.kenney — Wed, 19 Jun 2013 17:12:40 +0000

The Nicholas de Grandmaison: Recent Acquisitions exhibit Closing Reception and Hoop Dance Performance takes place Tuesday, June 25 at 7 p.m. in the Main Gallery

Each face, with its deep lines, juxtaposing colours and gentle strokes, tells a story – a story of honour, dignity and character; joy and sorrow; life and death – a story of a people in the midst of transition.

By capturing the faces of Canada's First Nations people, painter Nicholas de Grandmaison (1892 – 1978) left a deeply personal record of history.

A Russian aristocrat forced out of his homeland, a prisoner of war and eventually an immigrant to Canada, de Grandmaison felt an intimate connection to the First Nations people and empathized with the massive cultural changes they were forced to endure during the mid-20th century.

From the 1930s up until his death, de Grandmaison was struck with an urgency to paint the Plains Indians because he believed their way of life was quickly disappearing.

Nicholas de Grandmaison. Courtesy of U of L Archives.

He once wrote the First Nations people he saw inspired him "to forget the past and look forward to see and paint them all."

Nicholas de Grandmaison, Wolf Tail (Apisoh'soyi), 1960. From the ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Collection. Gift of BMO Financial Group, 2012.

But a rich past wasn't the only thing that de Grandmaison saw in the subjects; he was also keenly aware that their cultural practices were under great pressure from assimilation.

Nicholas de Grandmaison, Blackfoot Child, 1936. From the ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Collection. Gift of BMO Financial Group, 2012.

Being chosen as the keeper of the additional portraits is a testament to the ��Ѹ��Դ��߿�Ƭ's overall approach to art.

"This generous gift will significantly enhance our collection, exhibitions, and public programs and thus be an excellent resource for our community," says Mills.

Most importantly, the gift preserves a part of the past.

Editor's note: This article references Drawn From The Past – Nicholas de Grandmaison by Gordron Synder, Introduction by Joan Murray, as a factual resource.

Exhibit explores act of artistic conservation

trevor.kenney — Fri, 26 Oct 2012 20:00:44 +0000

A new gallery exhibit on the ��Ѹ��Դ��߿�Ƭ of Lethbridge campus brings exposure to the behind-the-scenes activity that keeps art alive and well in our community.

"Preventive conservation is a continual and on-going process that combats the process of aging and deterioration of artist's media," says Juliet Graham, co-curator of the exhibition entitled Caring for the Collection in the Helen Christou Gallery, running Oct. 26 through Dec. 24.

The opening reception for Caring for the Collection is in the Main Gallery on Friday, Oct. 26 at 4 p.m.

"This exhibition has been created as a snapshot to illustrate the team approach to preservation through the daily, behind-the-scenes work that goes into preserving the U of L Art Collection and to demonstrate to the community that the collection is being maintained and protected for future generations," says Graham. "Included in the exhibition are works that have received conservation treatment along with in-depth text, photographs and videos, which show some of the behind-the-scenes activities of collections and explains the importance of this work to our cultural heritage."

Campus Kudos - June

trevor.kenney — Wed, 22 Jun 2011 20:54:51 +0000

Dr. Heidi MacDonald (History) received an award for the best English-language academic article deemed to make an original and scholarly contribution to the field of women's and gender history by the Canadian Committee on Women's History. Her article, Who Counts? Nuns, Work and the Census of Canada, was published in a recent issue of Histoire Sociale/Social History. Reviewers indicated that MacDonald produced "…an impressive and insightful piece of work on the various ways in which women religious (nuns) have been excluded or significantly undercounted in the Canadian census."

Taras Polataiko's (Art) painting was on view at the National Museum of Ukraine in Kyiv. The work was part of an international exhibition curated by Kateryna Botanova.

Annie Martin's (Art) installation Untitled (horizon) was exhibited in the PAVED Arts main gallery in Saskatoon. A critical text was also commissioned to accompany this exhibition.

Dana Cooley (New Media) has a video work in the group show, A Century of Artists' Films, at the Theatr Mwldan in Wales. Curated by Mike Cousin in partnership with Oriel Mwldan, the show runs until July 2.

Three ��Ѹ��Դ��߿�Ƭ of Lethbridge teams recently walked to raise money to End MS, totalling an impressive $6,762.05 that was donated to the fight against Multiple Sclerosis. The team from the Faculty of Education, captained by
Dr. Cathy Campbell, and consisting of Dr. Robin Bright, Dr. Noella Piquette-Tomei and Dr. Cynthia Chambers raised $2,935. The team from Administration, captained by Dr. Mike Mahon, and consisting of Maureen Mahon, Laurel Corbiere, Trish Jackson, Virginia Wishart and Robin Hopkins raised $2,725. The team from the Faculty of Management, captained by Dr. Lori Kopp, and consisting of Dr. Robert Ellis, Dr. Sameer Deshpande, Dr. Brian Dobing, Dr. Pam Loewen, Joan Kendall, Diane Boyle and Steve Craig raised $1,102.05.

Pictured left to right are iGEM team members Harland Brandon, (fourth-year Biochemistry), Justin Vigar, ( fifth-year Biochemistry) and MSc candidate Lisza Bruder, BSc ’11.

Clark Ferguson, the U of L's chief information officer, presented the keynote address at the Futures in it – Collaboration Western Canada Academy Conference in Calgary recently. Ferguson's address was titled Business Experience – Applied to Post Secondary at the ��Ѹ��Դ��߿�Ƭ of Lethbridge.

Dr. Austin Mardon (BA'85) received an honorary doctor of laws from the ��Ѹ��Դ��߿�Ƭ of Alberta at its Spring Convocation ceremonies. Mardon, an inspiring advocate for the mentally ill, is a member of the Order of Canada and a past recipient of the CM Hincks Award, the highest award given by the Canadian Mental Health Association.

Three members of the U of L iGEM (International Genetically Engineered Machines) team are travelling to Stanford ��Ѹ��Դ��߿�Ƭ in California to attend the 5th International Meeting on Synthetic biology. The sold-out conference attracts researchers from around the world who are working in the growing field of synthetic biology.

Dr. David Clearwater's (New Media) essay, What Defines Video Game Genre? Thinking about Genre Study after the Great Divide, was published in the Spring 2011 issue of Loading... (a Canadian journal covering videogames and interactive entertainment).

Dr. Josephine Mills (director/curator U of L Art Gallery) has recently been named president of the Canadian Art Museum Directors' Organization.

Dagmar Dahle's (Art) work was included in the exhibition ANIMAL, appearing at Museum London in Ontario.

Loralee Sand Edwards' (BFA '05) exhibition iGallery: curated auto-paparazzi (Self-Portraiture in a Digital Age) is in the Main Gallery of the Bowman Arts Centre until July 10.

This story first appeared in the Legend. For a look at the Legend in a flipbook format, follow this link.

Historic Festival involves U of L

trevor.kenney — Tue, 03 May 2011 15:37:45 +0000

The 1950s are the focus of the 2011 Historic Lethbridge Festival, May 3-8, with myriad activities planned for everyone in the family. The ��Ѹ��Դ��߿�Ƭ of Lethbridge is hosting two events as part of the festivities.

The U of L Art Gallery has an exhibition entitled, The 1950s: Works from the U of L Art Collection & Galt Museum & Archives, in both the Main Gallery and Helen Christou Gallery.

"The exhibition was created from the perspective of the younger generation," says Dr. Josephine Mills, director/curator. "It highlights areas of artistic developments and social issues from the 1950s."

The exhibition was curated by museum studies interns David Smith and Allison Spencer.

The official festival kick-off opens with a fashion show (7 p.m., May 3) of 1950s-style clothing, hosted by Leslie Robison-Greene, costume designer and professor in the U of L's Dept. of Theatre & Dramatic Arts.

Following the fashion show, enjoy a Hot Rock & Cool Jazz performance by U of L music faculty and students.

For a complete list of events, visit historiclethbridge.org.

This story first appeared in the Legend. For a look at the Legend in a flipbook format, follow this link.

Historic festival

trevor.kenney — Fri, 15 Apr 2011 19:18:43 +0000

The U of L Art Gallery has an exhibition entitled, The 1950s: Works from the U of L Art Collection & Galt Museum & Archives, in both the Main Gallery and Helen Christou Gallery.

The exhibition was curated by museum studies interns David Smith and Allison Spencer.

Following the fashion show, enjoy a Hot Rock & Cool Jazz performance by
U of L music faculty and students.

For a complete list of events, visit historiclethbridge.org.

For a look at the Legend in a flipbook format, follow this link.

Events - March/April

trevor.kenney — Mon, 21 Mar 2011 17:41:16 +0000

Lectures

Mar. 15 | Brain Awareness Week
Dr. Bruce McNaughton presents, How Memory Works and Why it Sometimes Doesn't
7 p.m., Yates Memorial Centre

Mar. 16 | Pizza, Pop and Presentation
How to deal with annoying people (& make sure you're not one)
Noon, TH143

Mar. 16 | Art Now: DodoLab
Noon, ��Ѹ��Դ��߿�Ƭ Recital Hall (W570)

Mar. 16 | Department of Philosophy Speakers' Series | Kent Peacock presents, Energy Entanglement and Causality in Quantum Mechanics
4 p.m., B650

Mar. 16 | Climate Change National Speaker Series | Thomas F. Pedersen presents, Climate Change and the Pacific Institute for Climate Solutions: Blending Science, Social Science, Politics and Opportunity
7 p.m., PE261

Mar. 18 | Art Now: Chris Cran
Noon, ��Ѹ��Դ��߿�Ƭ Recital Hall (W570)

Mar. 21 | ��Ѹ��Դ��߿�Ƭ Scholars Talk
Judith Kulig presents, Rural Health: Expanding our Horizons through a Community-Based Research Program
1 p.m., Andy's Place (AH100)

Mar. 21 | Architecture & Design Now: Peter Fleming | 6 p.m., C610

Mar. 23 | Pizza, Pop and Presentation
Mindfulness, strategies to help with stress, anxiety, trauma and focus
Noon, TH143

Mar. 23 | WestGrid Seminar Series
Raymond Spiteri discusses stiffness analysis of cardiac cell models
1 p.m., CRDC, L1126

Mar. 24 | ��Ѹ��Դ��߿�Ƭ Scholars Talk
Dr. Heidi MacDonald presents, Coming of Age During the Great Depression in Canada
1 p.m., Andy's Place (AH100)

Mar. 25 | Art Now: Jessica Bradley
Noon, ��Ѹ��Դ��߿�Ƭ Recital Hall (W570)

Mar. 28 | Art Now: Jim Ellis
Noon, ��Ѹ��Դ��߿�Ƭ Recital Hall (W570)

Mar. 28 | Architecture & Design Now: Jim Ellis | 6 p.m., C610

Mar. 30 | Pizza, Pop and Presentation
Stressed?! Strategies to handle stress | Noon, TH241

Mar. 31 | ��Ѹ��Դ��߿�Ƭ Scholars Talk
Marc Roussel presents, Randomness in Biochemical Reactions
1 p.m., Andy's Place (AH100)

Apr. 4 | Art Now: Ken Allan
Noon, ��Ѹ��Դ��߿�Ƭ Recital Hall (W570)

Apr. 6 | WestGrid Seminar Series
Masao Fujinaga discusses using MATLAB on WestGrid equipment
1 p.m., CRDC, L1126

Apr. 7 | Pizza, Pop and Presentation
Study Skills | 1:15 p.m., L1170A

Miscellaneous

Mar. 11 to Apr. 15 | ��Ѹ��Դ��߿�Ƭ Art Gallery Exhibition | Annual Curated Student Exhibit | Main Gallery

Mar. 16 | Farewell Reception: Bill Hudgins | Retirement reception for longtime staffer Bill Hudgins
2:30 p.m., Andy's Place (AH100)

Mar. 16 | Documentary Film screening
The Union: The Business Behind Getting High | 7 p.m., the Zoo

Mar. 18 | Public Health Ethics Videoconference | Moral Residue, Moral Distress, and the Hope of Moral Dialogue: Navigating Competing Demands in Public Health Practice
Noon, B716

Mar. 19 | CCBN Open House
Tour the Canadian Centre for Behavioural Neuroscience | 10 a.m. to 1 p.m.

Mar. 22 | Sun Life Financial Leadership Program | Employer information session
5:30 p.m., Andy's Place (AH100)

Mar. 25, Apr. 4, Apr. 11 | Volunteer Tax Program | Students get their taxes filed for free
9 a.m., Markin Hall, M2044

Performances

Mar. 17 | Faculty Artists & Friends Series | La Virtuosissima Cantatrice: Sings by Italian Baroque Women
8 p.m., ��Ѹ��Դ��߿�Ƭ Recital Hall (W570)

Mar. 22 | Music at Noon: Dr. Thomas Staples (horn), Glen Montgomery
12:15 p.m., ��Ѹ��Դ��߿�Ƭ Recital Hall (W570)

Mar. 22-26 | Richard III by William Shakespeare | The eternal classic fraught with treachery, seduction and murder as Richard III attempts to claim the throne of England
8 p.m. nightly, ��Ѹ��Դ��߿�Ƭ Theatre

Mar. 26 | Rhythm-a-ning: Adventures in Rhythm | U of L Jazz Ensemble performs selections from jazz performers/composers including Thelonius Monk, Stan Kenton and Count Basie
8 p.m., Southminster United Church

Mar. 28 | Shadowcatcher
Lethbridge Symphony with the U of L Faculty Brass Quintet: Trudi Mason (trumpet); Keith Griffioen (trumpet); Dr. Thomas Staples (horn); Gerald Rogers (trombone); Nick Sullivan (bass trombone) | 8 p.m., Southminster United Church

Mar. 29 | Music at Noon: Sandra Stringer (mezzo-soprano) & Glen Montgomery (piano) | 12:15 p.m., ��Ѹ��Դ��߿�Ƭ Recital Hall (W570)

Mar. 31 | Plays and Prose Competition Winners – Evening Celebration
U of L students read their winning entries from the Striking Prose and PlayRight Prize competitions
7 p.m., David Spinks Theatre

Apr. 1-2 | Global Drums
Enjoy Steel Drums, African Drums, Taiko Ensemble, Brazilian and Samba Ensemble
8 p.m. nightly, ��Ѹ��Դ��߿�Ƭ Theatre

Apr. 5 | Joining Forces: Vox Musica and LCI Singers | The groups perform individually, then join forces for John Rutter's Mass for the Children | 8 p.m., Southminster United Church

Apr. 8 | U of L Wind Orchestra
Wind Up
8 p.m. Southminster United Church

Apr. 9 | Western Wind
U of L Singers and Women's Chorus capture the spirit of Renaissance choral masters Jon Taverner and Christopher Tye in a program of wind-inspired music | 8 p.m., Southminster United Church

Apr. 12 | Music at Noon: Studio Showcase | 12:15 p.m., ��Ѹ��Դ��߿�Ƭ Recital Hall (W570)

For a look at the March issue of the Legend in a flipbook format, follow this link.

In The Stillness exhibition opens

trevor.kenney — Fri, 07 May 2010 20:46:32 +0000

The ��Ѹ��Դ��߿�Ƭ of Lethbridge showcases the exhibition, In The Stillness, in the Main Art Gallery beginning Friday, May 7.

Examining the environment that exists between sculpture and viewer, this exhibition features rarely exhibited sculptural work from the ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Collection.

Though the works span over 25 years of artistic production, similarities can be drawn in the quiet complexity present in the conception and construction of each object.

Artists include Robert Rauschenberg, Alex Wyse, Alan Reynolds and Gordon Ferguson.

The opening reception for In The Stillness runs from 4 to 6 p.m. in the Main Gallery.

For more information on this exhibition, click on this link.

Events Calendar - February

trevor.kenney — Wed, 03 Feb 2010 22:58:11 +0000

Pronghorn Athletics

Women's Hockey
Feb. 5-6 | Alberta vs. Pronghorns
7 p.m. nightly at Nicholas Sheran Arena

Feb. 19 | Calgary vs. Pronghorns
7 p.m. at Nicholas Sheran Arena

Men's Hockey
Feb. 12-13 | Regina vs. Pronghorns
7 p.m. nightly at Nicholas Sheran Arena

Feb. 26-27 | Saskatchewan vs. Pronghorns | 7 p.m. nightly at Nicholas Sheran Arena

Basketball
Feb. 13 | Calgary vs. Pronghorns
Women's game 6 p.m.; Men's game 8 p.m. at 1st Choice Savings Centre gym

Lectures

Feb. 3 | Lunch and Learn
Identity Theft: Knowledge and Perevention presented by Internal Auditor Sonya von Heyking and Darren Schell, Internal Technology
12 p.m., D634

Feb. 4 | Department of English & Faculty of Education
Author Charles Noble reads from his selected poems and manifesto
3:30 p.m., AH100

Feb. 5 | Art Now: Francois Morelli
Noon, ��Ѹ��Դ��߿�Ƭ Recital Hall, W570

Feb. 8 | Reviewing Canada's Civic Core | Ray Pennings examines trends of volunteering, philanthropy and civic participation in Canada | 4 p.m., TH201

Feb. 8 | Architecture & Design Now: Allan Collier | 6 p.m., C610

Feb. 10 | Art Now: Duncan MacDonald | Noon, ��Ѹ��Դ��߿�Ƭ Recital Hall, W570

Feb. 12 | Art Now: Jim Logan
Noon, ��Ѹ��Դ��߿�Ƭ Recital Hall, W570

Feb. 22 | Art Now: Christine Ziedler
Noon, ��Ѹ��Դ��߿�Ƭ Recital Hall, W570

Feb. 22 | Architecture & Design Now: Christine Ziedler | 6 p.m., C610

Feb. 24 | Women Scholars Speaker Series | Manliness and Citizenship: Conscientious Objection in Canada During the First World War
Noon, Students' Union Ballroom A

Feb. 24 | Art Now: Peter White
Noon, ��Ѹ��Դ��߿�Ƭ Recital Hall, W570

Mar. 1 | Architecture & Design Now: Daniel Heaton | 6 p.m., C610

Performances

Feb. 2 | MBF and The Loud Love Choir | 8 p.m., The Zoo

Feb. 5 | How Do I Love Thee?
Romantic music and songs presented by U of L music faculty and students | 7:30 p.m., Lethbridge Public Library Theatre

Feb. 8 | Lethbridge Symphony Orchestra | Glen Montgomery (Music), guest artist on piano
8 p.m., Southminster Church

Feb. 9 | Music at Noon: Dr. Sandra Stringer (mezzo-soprano) and John Conlon (baritone) | 12:15 p.m., ��Ѹ��Դ��߿�Ƭ Recital Hall, W570

Feb. 9-13 | Hair
Experience the 1960s through this classical rock opera | 8 p.m. nightly, ��Ѹ��Դ��߿�Ƭ Theatre, except Feb. 12 shows at 7 p.m. and midnight

Feb. 12 | Sing, Sing, Swing
Featuring the U of L Jazz Ensemble
7 p.m., Gem of the West Museum, Coaldale

Feb. 23 | Music at Noon: Musaeus String Quartet with Sarah Gieck (flute) | 12:15 p.m., ��Ѹ��Դ��߿�Ƭ Recital Hall, W570

Mar. 2 | Music at Noon: Eve Egoyan (piano) | 12:15 p.m., ��Ѹ��Դ��߿�Ƭ Recital Hall, W570

Miscellaneous

Feb. 2 | Student Speaker Challenge
How Education Benefits the World – Quarter-final | 12:15 p.m., Galileo's Gallery

Feb. 2 | Management Career Information Evening | Featuring BMgt alumnus and career specialist Mary Thompson | 5 p.m., Students' Union Ballroom B

Feb. 3 | Living Well Workshops for Students | Feeling good and eating well, learning strategies to promote a healthy relationship with food
Noon, TH141

Feb. 4 | Management Students' Society Burger Burnout | Free burgers for students and guest speaker | 12 p.m., Students' Union Ballroom B

Feb. 6 | Culture Vulture Saturday
Valentine's Day prints and collage
10 a.m. to 5 p.m., ��Ѹ��Դ��߿�Ƭ Art Gallery

Feb. 6 | 5th Annual Rotaract Dinner & Silent Auction | Lethbridge Lodge

Feb. 10 | Living Well Workshops for Students | Stressed, practical ways to integrate stress management into an already busy schedule | Noon, TH141

Feb. 12 | Men in Nursing Day
Learn about opportunities for men in nursing | 9 a.m. to 4 p.m., AH100

Feb. 22 | Who is Michael Nolan?
Come find out in the atrium at noon.

Feb. 23 | Student Speaker Challenge | How Education Benefits the World – Semifinal | 4:30 p.m., Galileo's Gallery

Feb. 24 | Living Well Workshops for Students | How to Deal with Annoying People (And Make Sure You're Not One), learning how to manage not so compatible people in your life | Noon, TH141

Through Feb. 26 | Snap, Crackle, Pop
An exhibition highlighting Alberta artists exploring the themes, iconography, materials and visual styles of popular culture | Main Gallery and Helen Christou Gallery

Feb. 27 | Everest Challenge
U of L Climbing and Rotaract clubs in support of Uphill Both Ways; Education and Relief for Children in Nepal | Ascent Climbing Centre

Mar. 2 | Student Speaker Challenge
How Education Benefits the World – Semifinal | 4:30 p.m., Galileo's Gallery

Snap, Crackle, Pop explodes on the 2010 scene

trevor.kenney — Tue, 05 Jan 2010 19:03:05 +0000

The new year comes in with a bang at the U of L Art Gallery as Snap, Crackle, Pop opens with a reception on Friday, Jan. 15, at 4 p.m. in the U of L Main Gallery.

This contemporary group exhibition, curated by Gallery Director/Curator Dr. Josephine Mills, showcases the work of past and present southern Alberta artists who explore the iconography, materials and visual aesthetic of popular culture.

The works Mills has chosen for the exhibition are light-hearted and accessible, while also calling to mind current events as portrayed by modern media.

"There are disaster-inspired and macabre themes throughout the works, but with element of optimism," explains Mills. "We live in a world surrounded by doom and gloom – from the economy to global warming – but the artists in this exhibition find optimism through playing with pop culture."

The exhibit includes work by U of L alumni Shanell Papp and Len Komanac.

"Shanell works with fabric and textiles and this exhibition features her embroidered life-size human skeletons and crocheted blood-pools," says Mills. "Len's pieces depict four disasters in a trailer park such as a giant squid rising from a kiddy-pool to angry trees seeking revenge for chopping one of their own into firewood."

"Art duo Dave & Jenn create fantastic landscapes by layering paint within acrylic resin and by drawing inspiration from the Group of Seven's famous imagery," she adds.

Dave & Jenn will give a talk in Art NOW on Jan. 15 at noon in the Recital Hall.

Other featured works include Christopher Moore's sculptures of military paraphernalia covered in hot pink flocking and Lisa Brawn's highly stylized woodcarvings of Canadian icons and macho men. A series of paintings entitled Erstaz Bats by Jason Mathis references both comic book culture and pop art's devotion to multiples; each panel depicts one of Mathis' friends, dressed in a Batman costume.

Snap, Crackle, Pop is on display in the U of L Main Gallery and Helen Christou Gallery from Jan. 15 through Feb. 26. The Main Gallery is open weekdays from 10 a.m. to 4:30 p.m. and until 8:30 p.m. on Thursday evenings.

UNews - Main Gallery

Closing de Grandmaison

Each face, with its deep lines, juxtaposing colours and gentle strokes, tells a story – a story of honour, dignity and character; joy and sorrow; life and death – a story of a people in the midst of transition.

By capturing the faces of Canada's First Nations people, painter Nicholas de Grandmaison (1892 – 1978) left a deeply personal record of history.

A Russian aristocrat forced out of his homeland, a prisoner of war and eventually an immigrant to Canada, de Grandmaison felt an intimate connection to the First Nations people and empathized with the massive cultural changes they were forced to endure during the mid-20th century.

From the 1930s up until his death, de Grandmaison was struck with an urgency to paint the Plains Indians because he believed their way of life was quickly disappearing.

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The faces of history

Each face, with its deep lines, juxtaposing colours and gentle strokes, tells a story – a story of honour, dignity and character; joy and sorrow; life and death – a story of a people in the midst of transition.

By capturing the faces of Canada's First Nations people, painter Nicholas de Grandmaison (1892 – 1978) left a deeply personal record of history.

A Russian aristocrat forced out of his homeland, a prisoner of war and eventually an immigrant to Canada, de Grandmaison felt an intimate connection to the First Nations people and empathized with the massive cultural changes they were forced to endure during the mid-20th century.

From the 1930s up until his death, de Grandmaison was struck with an urgency to paint the Plains Indians because he believed their way of life was quickly disappearing.

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