UNews - artist

Oral History Project brings the past to life

trevor.kenney — Tue, 22 Oct 2013 22:38:48 +0000

The late English writer Rudyard Kipling once reflected, “If history were taught in the form of stories, it would never be forgotten.”

��Ѹ��Դ��߿�Ƭ of Lethbridge students Karissa Patton (BA ’13) and Maria Livingston would likely agree with that observation.

Karissa Patton, left, and Maria Livingston are helping to bring the past to life through the Oral History Project.

Last summer, Patton, who is now pursuing a master’s degree in history, and Livingston, a third-year Native American Studies student, worked together on the Oral History Project, a story-gathering initiative supported by the U of L Art Gallery, ��Ѹ��Դ��߿�Ƭ Archives and Centre for Oral History and Tradition.

Today, Livingston continues to be involved in the project, which is aimed at helping people to enhance their understanding of artist Nicholas de Grandmaison (1892-1978) and his unique connections to First Nations communities. The ��Ѹ��Դ��߿�Ƭ has a vast collection of de Grandmaison artwork and artifacts, including 67 original pastel portraits that were donated to the art gallery by BMO Financial Group earlier this year along with funding to support research related to the art gift.

A cultural icon of southern Alberta and one of the most important portraitists of First Nations people, de Grandmaison was a nomadic painter who often stayed with ranchers, farmers and Aboriginal families for several days at a time while he painted their portraits. His work not only documented the history of First Nations people in Canada, but was also unmatched in its ability to capture the unique personalities of those who sat for portraits.

With guidance from U of L archivist Mike Perry and Lisa Doolittle of the Department of Theatre and Dramatic Arts, Patton and Livingston contacted members of the Kainai, Siksika and Piikani First Nations, searching for – and interviewing – people who may have had contact either with de Grandmaison or any of the subjects featured in his paintings.

“Collecting individual narratives is important because people aren’t writing things down as much as they once did. Also, the stories that have been included in historical archives in the past have often just been those of famous people and politicians,” says Patton.

To ensure the full range of stories compiled in the oral history project are shared for years to come, Livingston is now working on an educational program and online resource for high school students and middle school students, respectively. The initiatives are a way of giving back to First Nations communities and youth, says Livingston, who is of Cree heritage.

“I’m thankful for the opportunity to work on this project,” she says. “Along with hearing great storytelling, I’ve learned more about First Nations culture and history, and that complements what I’ve been learning in school.”

Pianos as you've never heard, or seen, before

trevor.kenney — Tue, 17 Sep 2013 17:03:42 +0000

Hear two pianists, with very different backgrounds and styles, coming together on two grand pianos integrated with electronics and computers - a chance to see each pianist shine and to see the synergy of live collaboration.

Aaron Collier will perform a set of piano improvisations utilizing live sampling, looping and layering techniques with a computer. Jesse Plessis will play a handful of modern works, some with computer, by electronic-music pioneer Karlheinz Stockhausen, one of Canada's greatest composers, Ann Southam, the young American, Nico Muhly, and one robot-inspired work by Radiohead. The duo appear in Two Pianos + Computers, Saturday, Sept. 21 at 8 p.m. in the ��Ѹ��Դ��߿�Ƭ Hall Atrium.

Two Pianos + Computers promises to be one of the more unique musical offerings to hit the stage this year.

The duo will wrap up this unique evening with what they describe as a “turbo-rad collaborative piece”.

Aaron Collier

Aaron Collier may be known as one of Atlantic Canada’s most consistently innovative keyboardists, but the Prince Edward Island native is most recently calling Lethbridge home. Collier studied the piano privately in Prince Edward Island until his graduating year of high school before embarking on 14 years of national and international touring and recording with various rock, pop and jazz artists.

In 2001, Collier became the keyboardist for international touring and recording artists The Jimmy Swift Band. In the following decade the group released four studio albums and two live recordings. In 2006, Collier along with JSB frontman Craig Mercer created the “looping madness duo” Scientists of Sound, a theatrical and high-energy electro project which continues to create intense live shows for eager audiences worldwide.

In 2008, Collier released his first full-length album of electronic music, Love, and in September 2010 he released the improvised piano+computer recording Neo.

Collier is an award-winning sound designer in theatre and recent credits include the world-premiere of Daniel MacIvor’s I Animal at the Supernova and Summerworks festivals in Halifax and Toronto, as well as Jay Whitehead and Daniel Judes’ UNSEX’d in Lethbridge, Dublin, and Halifax. He is presently creating a new show called The Myth of Canada under his alter-ego Chandelier, and is workshopping the work as one of CASA’s inaugural resident artists in November.

www.aaroncollier.ca

Jesse Plessis

Pianist and composer Jesse Plessis recently obtained a Master of Music degree (Performance and Literature) from Brandon ��Ѹ��Դ��߿�Ƭ where he studied piano with Megumi Masaki and composition with Patrick Carrabre. His Bachelor of Music degree is from the ��Ѹ��Դ��߿�Ƭ of Lethbridge where he studied piano with Deanna Oye and composition with Dr. Arlan Schultz and Dr. Rolf Boon.

Plessis has been awarded prizes both in piano and composition. His own works have been broadcast on CBC, and he has performed as a guest artist with several ensembles including the Musaeus String Quartet, the Land’s End Chamber Ensemble, and the International Piano Ensemble. He was recently one of 12 pianists admitted to the London Masterclasses, a program held each July at the Royal College of Music.

He has had the opportunity to give the Canadian premieres of works by Marcel Bergmann, Kaija Saariaho, John Corigliano, Nico Muhly, and Kjartan Olafsson. Recent performances include those with New West Theatre, at the Casalmaggiore Festival in Italy, the Dark Music Days Festival in Iceland and at the Banff Centre.

Plessis is also one half of the Hansen-Plessis Piano Duo (alongside Bente Hansen, ��Ѹ��Դ��߿�Ƭ of Lethbridge) which explores the possibilities of popular music in the concert hall alongside the classical repertoire.

A sometime conductor, Plessis has directed performances with the Brandon ��Ѹ��Դ��߿�Ƭ New Music Ensemble (BUNME), the Brandon ��Ѹ��Դ��߿�Ƭ Orchestra and several musical theatre productions.

Tickets to Two Pianos + Computers are available by calling the Box Office at 403-329-2616 or online at www.uleth.ca/tickets.

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.

Oral History Project appeals for contributions

trevor.kenney — Mon, 17 Jun 2013 17:37:50 +0000

The ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Gallery and ��Ѹ��Դ��߿�Ƭ Archives is calling on Albertans to assist in a historical project in support of their vast Nicholas de Grandmaison collection of artworks and artifacts.

A cultural icon of southern Alberta, artist Nicholas de Grandmaison (1892-1978) captured the history of the region and its First Nations people in an entirely distinctive and personal manner.

As an itinerant painter, de Grandmaison often stayed with ranchers, farmers and Aboriginal families for several days at a time while he painted their portraits. His unique lifestyle, character and attitude having left a plethora of interesting experiences that augment the context of his paintings.

It is these stories that the ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Gallery and the ��Ѹ��Դ��߿�Ƭ Archives are looking to tell through an Oral History Project that will complement the ��Ѹ��Դ��߿�Ƭ's de Grandmaison collection of artworks and artifacts. They are currently seeking contributions from the Alberta community.

"By compiling an oral history, we really want to give the de Grandmaison collection another layer of meaning," says Karissa Patton (BA '13), a recent U of L graduate who is returning for graduate studies this fall and who is working with third-year Native American Studies student Maria Livingston on compiling the oral history pieces.

"The collection is remarkable, but in some instances we might only have the name of the person featured in the painting, and in others, we have no information at all. When you look at how the subjects are depicted, you can see that there is a story there that is just waiting to be told."

Working under the guidance of ��Ѹ��Դ��߿�Ƭ Archivist Mike Perry and Lisa Doolittle of the Department of Theatre and Dramatic Arts, Patton and Livingston have contacted various members of the Kainai, Siksika and Piikani First Nations, searching for those people who may have had contact either with de Grandmaison or any of the subjects featured in his paintings.

"It doesn't have to be a story from someone who was actually painted, it can be anything from that era that adds to the story of
de Grandmaison's visits and work," says Patton. "Even the smallest of recollections help to create a larger narrative."

BMO Financial Group recently donated 67 original de Grandmaison pastel portraits to the ��Ѹ��Դ��߿�Ƭ of Lethbridge's already comprehensive collection of artworks and artifacts. They have been featured in the
U of L Art Gallery exhibition Nicholas de Grandmaison: Recent Acquisitions, which concludes Thursday, June 27. On Tuesday, June 25, a Closing Reception and Hoop Dance Performance will be held at 7 p.m. in the U of L Art Gallery.

"It's been wonderful to be able to present these de Grandmaison works to the public," says Director/Curator of the ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Gallery, Dr. Josephine Mills. "The BMO donation has significantly enhanced our collection and really inspired us to search for ways in which we can encourage new work from First Nations artists. I think this Oral History Project is an excellent way to give even more context to these works and bring our Alberta history to life."

For those looking to take part in the project, access the following website for more information: http://www.uleth.ca/artgallery/?page_id=5452, call 403-380-1868 or e-mail degrandmaisonstories@uleth.ca

Oral history contributions sought by gallery

trevor.kenney — Wed, 15 May 2013 16:32:50 +0000

The late artist Nicholas de Grandmaison is a cultural icon of southern Alberta. He is well known for his portraits of politicians, families and unknown subjects.

During a previous exhibition of his work at the ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Gallery, there was a great deal of interest in discussing stories of the artist and of his Aboriginal subjects. The gallery is subsequently undertaking a project that invites individuals visiting the exhibit to share their unique experiences with the artist or the subjects of his paintings. The project will be publicized during the exhibition of paintings donated by BMO Financial Group at the U of L Art Gallery May 2 to June 27.

As an itinerant painter, de Grandmaison often stayed with ranchers, farmers and Aboriginal families for several days at a time while he painted them. His unique lifestyle, character and attitude have left a plethora of interesting experiences that augment the context of his paintings.

The ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Gallery and the ��Ѹ��Դ��߿�Ƭ Archives are partnering to gather the stories and provide research access to them. This oral history project is intended to give greater context to de Grandmaison as a person and an artist and to give greater background to the body of his work in the ��Ѹ��Դ��߿�Ƭ collection. As well, it will add to the rich research resource already housed on campus with the artworks, personal papers and photographs, and sound recordings produced with the artist and some of his Aboriginal sitters for portraits.

Once the stories are gathered, access will be provided through the ��Ѹ��Դ��߿�Ƭ of Lethbridge Archives website and in person study in the Archives as well as future touring exhibitions of de Grandmaison's work.

Discovery Day for CWSF participants

trevor.kenney — Mon, 13 May 2013 15:33:55 +0000

Canada-Wide Science Fair participants will not just be sitting by their projects this week.

In addition to a host of local and regional tours and activities, faculty members, undergraduate and graduate students and staff from the ��Ѹ��Դ��߿�Ƭ of Lethbridge and Lethbridge College have developed a large number of hands-on activities for the students to participate in, and which showcase the diversity of research and creative activities taking place on both campuses.

All events run from 1:30 p.m. to approximately 5 p.m., on Monday, May 13. Events are hands-on, and media friendly.

CWSF participants were able to choose two activities from a total of 25 from departments/faculties including physics, chemistry and biochemistry, biology, geography, Math and Computer Science, New Media, Fine Arts, Kinesiology, Management, Nursing, Modern Languages and Neuroscience.

Lethbridge College's Wind Energy program is featured, alongside their engineering technology programs.

A short list is below, and a complete list can be found here.

Discovery Day activities for participants in grades Seven to 9

Francophone Science Sampler – This session will be exclusively in French and include a variety of science activities and tours of the ��Ѹ��Դ��߿�Ƭ of Lethbridge. Students will have the opportunity to learn about multiple science disciplines through demonstrations and hands on lessons.

"Performing" Science – Bringing Science to Life: Students will take to the stage to apply their creativity by composing a theatrical version of the various processes and reactions that you would normally see in laboratory.

U of L Art Gallery Science Challenge! – Discover just how much math and science is needed to work in the art field - both as an artist and as someone who works at a gallery.

International Wind Energy Academy, Lethbridge College – KidWind Challenge: How does a wind turbine work?

The Science of Stop Motion Technology – Students in this session will explore motion capture technology and learn why it is used in the entertainment industry as well as scientific research.

Fine Arts Maker Fair - Soldering and Circuit Boards

Water Watch – Monitoring Pollution in Our Water (Bilingual)

Computer Science – Lego Robotics Challenge

Kinesiology and the Human Body

Alberta Water and Environmental Science Building Interactive Tour

Logic and Puzzles

Discovery Day activities for participants in grades 10 – 12

The Science Behind Nursing – Students make Life and Death Decisions in the SimLab

I made millions! I crashed the stock market! – Students will use the U of L's Faculty of Management's Financial Trading Room to learn about Finance and the basics of trading. They will simulate multi-million dollar trades and compete (for prizes!) to see who can make the best trade

Digital Musical Instruments – Design and Performance

Digital Audio Arts – Listening and Mixing in the U of L's $1million sound studio

The Physics of Music – This session will give students a chance to create sound waves, observe resonance and to learn about harmonics and overtones using computer software. Students will also explore electronics and futuristic physics designs.

GIS Mapping Lab

All About ribonucleic acid (RNA)

Synthetic Biology Overview – Hosted by the award-winning ��Ѹ��Դ��߿�Ƭ of Lethbridge international Genetically
Engineered Machine competition (iGEM) team

3 Dimensional Scanning and GIS Network Analysis – Lethbridge College Engineering program will show students how traditional surveying methods are now being replaced by methods such as 3 Dimensional scanning.

Moving Past the Two Dimensional – Using the computer program Autodesk Inventor students will transform 2D sketches into 3D components that they will ultimately bring together to build a 3D assembled model.

Organic Chemistry and the Chemistry of Carbon Compounds (Bilingual)

The Brilliant World of Fluorescent Proteins (Bilingual)

Canadian Centre for Behavioural Neuroscience Interactive Tours

Aramark readying for changeover

trevor.kenney — Wed, 24 Apr 2013 22:17:18 +0000

��Ѹ��Դ��߿�Ƭ of Lethbridge food services begins a new chapter May 1, 2013 when Aramark Higher Education officially joins the U of L community.

Marking the most transformative food services change at the U of L in 30 years, the introduction of Aramark as the new food provider is the culmination of a comprehensive and consultative review of food services on the Lethbridge campus.

"The ��Ѹ��Դ��߿�Ƭ of Lethbridge prides itself on the experience it offers its students," says U of L President Dr. Mike Mahon. "We recognize that food quality is critical to that experience, and we are thrilled that our campus community will be provided with a variety of high-quality food options for the foreseeable future."

A number of renovations are planned over the summer to accommodate the significant changes that Aramark will bring to campus, all focused on taking the campus dining experience for students, faculty and staff to a new level.

"We are excited to begin serving the ��Ѹ��Դ��߿�Ƭ community," says Jeff Marcellus of Aramark as his company begins a 10-year agreement with the ��Ѹ��Դ��߿�Ƭ. "Our goal is to enhance the dining environment and experience for students, faculty and staff, and to build partnerships across the campus community."

Tim Hortons will be the first location to open under Aramark's leadership on May 1 in the 1st Choice Savings Centre for Sport and Wellness. This will continue to be a full Tim Hortons that will offer everything from classic hot beverages and donuts to sandwiches and chili.

A fully renovated dining hall, a convenience food outlet, a full Starbucks, Subway and an Express Tim Hortons will open at other campus locations in the fall.

The change to the current ��Ѹ��Դ��߿�Ƭ Hall dining hall will be significant as Aramark transforms the space into the Urban Market, serving breakfast, lunch and dinner. Renovations include the installation of a flat top grill, pizza oven, entrée station, deli and a build-your-own salad bar, soup and coffee station. An artist's concept drawing is attached for reference.

Further down ��Ѹ��Դ��߿�Ƭ Hall, a Subway, connected to another Tim Hortons will be introduced. This Tim Hortons will be an express location, offering hot beverages and bakery items.

In Markin Hall, a convenient food outlet that will offer an assortment of grab 'n' go items including "We Proudly Serve Starbucks" coffee, bakery, soup, snacks and cold beverages, will remain. The Express menu will also include items such as sandwiches, salads, snackers, fruit and veggie cups and yogurt parfait cups.

The final addition to campus is a full Starbucks location in the space formerly occupied by Mr. Sub (directly across from Security Services and the Helen Christou Gallery on the walkway to the Library). This location will offer everything patrons expect from Starbucks, including a full food and beverage menu as well as a seating area for studying or just meeting up with friends.

BMO Financial makes significant donation of de Grandmaison works to gallery

trevor.kenney — Thu, 21 Feb 2013 18:38:03 +0000

BMO Financial Group has donated 67 original pastel portraits by Nicholas de Grandmaison (1892-1978) from its art collection to the ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Gallery.

The collection, which is valued at more than $1.66 million, spans a period of over 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 ��Ѹ��Դ��߿�Ƭ of Lethbridge already owns one of the most comprehensive collections of artworks and artifacts by this important Canadian portraitist," says Robert Hayes, senior vice president, Prairies Division, BMO Bank of Montreal. "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."

Nicholas de Grandmaison, Across the Mountain. From the ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Collection. Gift of BMO Financial Group, 2013.

De Grandmaison created portraits of southern Albertans and Canada's First Nations populations for over 45 years. After immigrating to Canada from Russia (by way of England) in 1923, de Grandmaison spent much of his life touring around the prairies, painting the people he met. De Grandmaison was well-known and beloved in this area, and before his death in 1978 he was made an Honourary Chief of the Peigan Nation.

The 67 pastel portraits are part of a portfolio of 100 works by Nicholas de Grandmaison that were purchased by BMO in 1978 from the artist's family after his death.

��Ѹ��Դ��߿�Ƭ of Lethbridge President Mike Mahon says the portraits gifted by BMO Financial Group are of special significance due to the fact that de Grandmaison created most of his work in southern Alberta capturing the individual histories and personalities of those he painted.

"I find it fascinating that the communities Nicholas de Grandmaison was passionate about are the same communities the ��Ѹ��Դ��߿�Ƭ remains passionate about today," says Mahon. "The ��Ѹ��Դ��߿�Ƭ of Lethbridge takes seriously what it means to be entrusted with these cultural treasures, and we look forward to sharing these works with our students, our community, our country and beyond in future initiatives."

Director/Curator of the ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Gallery, Dr. Josephine Mills, says the gallery is already contemplating the many opportunities that will arise from this gift.

"I am excited to present an exhibition of the portraits in May and to work on further possibilities for exhibitions and research with the works from BMO and our existing collection of de Grandmaison artwork and archives," says Mills. "Future projects include conducting an oral history project about the artist and the First Nations subjects in the portraits as well as commissioning First Nations artists to produce new work in response to the BMO donation. This generous gift will significantly enhance our collection, exhibitions, and public programs and thus be an excellent resource for our community."

Included in the gift is $50,000 to care for and create access to the works. Mills says an oral history project that focuses on the artist and sitters will be created and that the gallery will commission Aboriginal artists to create a response to the works. The money will also be used to showcase the works nationally and possibly internationally.

The ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Gallery houses one of the most significant art collections in Canada. Numbering over 14,000 objects, the holdings include works from Canada, America and Europe, span the 19th and 20th centuries and continue to grow with 21st century additions. The gallery's major strength is the diversity of the collection, which not only represents a wide range of geographic locations, but also the full spectrum of media, artistic movements and genres.

The ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Gallery has scheduled an exhibition of selected works from the BMO gift from May 2 to June 27, 2013.

��Ѹ��Դ��߿�Ƭ played key role in alumni couple's story

trevor.kenney — Fri, 18 Jan 2013 23:08:27 +0000

Some would call it luck, others fortune, but when her father, Dr. Keith Roscoe, accepted a position with the Faculty of Education at the ��Ѹ��Դ��߿�Ƭ of Lethbridge in 1996, an entirely new world of possibilities opened up for Catherine Roscoe Barr (BSc '02) and her future husband, Aaron Barr (BFA '02).

Aaron, now a technical artist for Pixar Canada, and Catherine, a freelance writer, first met in Grade 7 in Grande Prairie but their friendship was cut short when Aaron's family moved to Lethbridge. With her father's new position at the ��Ѹ��Դ��߿�Ƭ, Catherine was able to rekindle a friendship with Aaron in her final year of high school. After graduation, she enrolled at the ��Ѹ��Դ��߿�Ƭ in the pre-vet program then quickly switched to pre-med studies.

"I realized I really didn't like physics so I switched to neuroscience. It was awesome," explains Catherine. "I had three favourite professors: Drs. Gail Michener, Peter Dibble and Glen Prusky. They communicated the material, which was often very complicated, in such a way that was fascinating and easy to understand."

Aaron and Catherine Roscoe Barr have parlayed their U of L educations into exciting, satisfying careers.

While Catherine concentrated on the sciences, Aaron enrolled in fine arts. He loved to draw and had a great interest in computer graphics and animation, but he was unsure about the reality of an artist making a living in the world of computer graphics, so he entered the U of L with plans to pursue a career in architecture. When the ��Ѹ��Դ��߿�Ƭ created the multimedia program in Aaron's second year, however, he quickly applied.

"There were college programs offering similar type programs but I really wanted the more universal experience I got at the ��Ѹ��Դ��߿�Ƭ," says Aaron, who was among the first to graduate from the program.

During one of his classes, Aaron had the opportunity to interview John Kahrs, a senior animator for Pixar, regarding Kahrs' work on the animated film Monsters Inc.

"I loved what he was doing and how passionate he was. I decided then that I wanted to abandon architecture and pursue my interest in film. I thought it was just a shot in the dark but he said go for it, you'll get there," remembers Aaron, who recently ran into John at Pixar. "I told him how I had met him at the ��Ѹ��Դ��߿�Ƭ and how he had inspired me. At Pixar, I build characters, sets, props, paint texture onto them, and add surface qualities and hair, anything involving the look of the character or object."

Catherine too had a life-changing moment while she was a student at the U of L. As a teenager she was always quite active but with her studies taking up so much time, her activity level dropped and she found herself eating a lot of unhealthy cafeteria food. One of her roommates in residence encouraged her to get a personal trainer.

"It changed the course of my life," she says. "I had wanted to become a doctor but I found that fitness was a proactive way to help people. I started taking fitness classes and got my fitness instructor certificate. The year after I graduated I got my personal trainer certification."

In July 2000, the couple was engaged, and in August 2002, just a few months after graduating, they married. A move to Toronto followed, where Catherine started her own business working as a personal trainer and teaching fitness classes at Sheridan College. Aaron earned a diploma in digital character animation at the college, and then began working for C.O.R.E. Feature Animation. Several career moves later, Aaron was given the opportunity to work on the movie, Legends of the Guardians, in Australia in 2009. It was a move that would affect Catherine's career as well.

"About three days after we moved to Australia, I was walking in downtown Sydney. I walked by this beautiful building, with all these beautiful people. I didn't know what it was but I knew I had to be a part of it. I went home and Googled the address. It was ACP Magazines, an enormous magazine publisher," says Catherine, who subsequently spent the next five months there as an intern.

She has since developed a successful career writing about her passions: fitness, health, food and travel. In May 2011, Aaron landed his dream job with Pixar Canada.

"Working for Pixar has been a long-time goal; they always put quality first and are determined to create original, compelling stories," says Aaron. "I said to Aaron the other day that if I won the lotto I would keep doing exactly what I am doing," says Catherine. "I feel so blessed."

GET THE FACTS

· Catherine writes for publications such as the Vancouver Sun, The Province, BC Home and Garden, Homes and Living, Western Living, Real Weddings, TV Week and BCLiving.ca

· Catherine's writings and adventures can be found at: thelifedeliciousblog.com

· Catherine recently returned from Jamaica where she ran the Reggae Marathon 10K

· Aaron's career path has seen him work for C.O.R.E. Feature Animation, Rainmaker Animation, Animal Logic, Image Engine Design Inc. and Pixar

· Aaron's major projects include: Partysaurus Rex, Legend of the Guardians, The Thing, The Wild, The Ant Bully and Escape from Planet Earth

This story first appeared in the January 2013 edition of the Legend. For a look at the full issue in a flipbook format, follow this link.

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