ACADSA’s Winter Show +Sale

Hello Fibre people!

Just wanted to leave a brief reminder that the deadline to register for ACADSA’s Winter Show + Sale is coming up on Thursday, October 5th at 11:59 pm. To sign up, please fill out this online form: https://form.jotform.ca/ACADSA/show-sale-registration-winter-2017

The first meeting will also be on Thursday, October 5th from 1-1:30 pm (in room 371). This is the Inventory workshop which is mandatory for NEW Show + Sale participants. RETURNING students who need a refresher on Show + Sale procedures and filling out the inventory sheet are encouraged to attend as well, but it is not mandatory for them to do so.

ACADSA will also be hosting Market Collective co-founders Angela Dione and Angel Guerra, and New Craft Coalition co-founder and ACAD alumni Laura Sharp on Tuesday, October 10 at 4pm in the Lecture Theatre.

These lovely guest are coming to talk to us about selling artwork in a market environment. This is such a great opportunity for anyone who is interested in learning about selling their work once graduated from ACAD. It will be held in a panel format, so there will be plenty of opportunity for questions!!!

Thanks all,

If you have any questions regarding any of this information, please e-mail me at emilie.macphail@acad.ca 

IKG Gallery – MFA Thesis Exhibition March 27 to 30

Know what an ACAD MFA thesis exhibition/examination looks like?
Neither do I, nor anyone else
.                                                       … because this is the very first one!

Come take a look, and attend any of the artist talks or even the thesis examination.
All are open to all-ACAD and the public, view though space is limited.

 

Sharon Hogg’s thesis exhibition is on for three busy days at the end of March at the Illingworth Kerr Gallery 2.

 

Contextural – An Awesome Summer Residency – Right Here!

After the semester ends and before the next one begins …

Or after the grad is over …..

Think about participating in the Contextural Fibre Arts Cooperative’s summer residency in the Fibre Studios at ACAD. No assignments, sick no deadlines …. Just the ones you make for yourselves.

Oh, malady except for the MARCH 31, 2017  deadline to apply. Sign up for just one month or all three months  – June July August 2017.

Contextural is an eclectic group of fibre artists, from many backgrounds, working together on their individual projects, over the summer in the ACAD studios.

All the details are at the link below:

Residency

Artist Talk with Anne Steves – Next Wednesday March 8, 7pm

The Contextural Fibre Arts cooperative, clinic in partnership with ACAD, viagra order  would like to officially invite you to attend the upcoming artist talk with textile and thread based media artist Anne J Steves.   

Location: STANFORD PERROTT LECTURE THEATRE @ the Alberta College of Art + Design.    Date: WEDNESDAY, MARCH 8, 2017 @ 7PM

Anne J Steves is a visual artist working at the intersection of art/craft through textiles and thread based media. Her work examines the narratives of place and the ways in  which craft aesthetics can draw out connections between ourselves and the spaces (both constructed and natural) in which we dwell.

Steves’ work is often instigated by specific sites during artist residencies and independent travel, allowing for interaction with new conditions, communities and materials.

So far these have included a year in a Ranger Station, a collaborative canoe journey down the Rideau Canal, an exploration of string figure making in Victoria and a study of traditional wool blankets in Wales.

For more pictures and writings…    annejsteves.myportfolio.com/

This talk is presented in partnership with Contextural Fibre Arts Cooperative.

Fibre Events

 

The annual Fibre show is on display in the main mall until Friday, adiposity February
10th.

Madelaine Purves-Smith presents Custom Woolen Mills Thursday Feb 16 – 3pm
Stanford Perrot Lecture Theatre

The miniature show is in rm. 371 this year. Bidding has started and closes
during our reception, epilepsy Thursday February 16th, 5:30-8pm, final bids- 7:30pm.

Hope to see many of you at our talk and closing reception,
The Fibre Program

ONE MORE WEEK FOR SUBMISSIONS

THERE IS ONE WEEK LEFT TO SUBMIT TO THIS YEARS MINIATURE SHOW / SILENT AUCTION

Please consider donating.

2017 Mini poster
The ACAD Fibre program is seeking submissions for the 2017 Miniature Show / Silent Auction.
Funds raised support visiting artists, search workshops and student-initiated projects in the Fibre program. Students, alumni, faculty and friends are encouraged to donate work for the show.

Works restricted to 12” in any direction in all mediums will be accepted.

All work must be accompanied by a submission form and dropped off at the Fibre Program office, Rm 414 by Monday, January 30th, 2017.

The Miniature Show will be displayed from February 6 – 16th. The closing event will be held Thursday, February 16th from 5.30 – 8 pm with closing bids in at 7.30 pm.

For more information or a submission form contact kellie.reid@acad.ca or asma.ismail@acad.ca

Seeking submissions for the 2017 Miniature Show / Silent Auction.

2017 Mini poster

The ACAD Fibre program is seeking submissions for the 2017 Miniature Show / Silent Auction.

Funds raised support visiting artists, troche workshops and student-initiated projects in the Fibre program. Students, pilule alumni, ed faculty and friends are encouraged to donate work for the show.

Works restricted to 12” in any direction in all mediums will be accepted.

All work must be accompanied by a submission form and dropped off at the Fibre Program office, Rm 414 by Monday, January 30th, 2017.

The Miniature Show will be displayed from February 6 – 16th. The closing event will be held Thursday, February 16th from 5.30 – 8 pm in Room 371 with closing bids in at 7.30 pm.

For more information or a submission form contact kellie.reid@acad.ca or asma.ismail@acad.ca

 

Ask First Pt. 1

On the 14th and 15th of October I had the most wonderful opportunity to attend a symposium at the University of Calgary called “Ask First: Creating a Campus Culture of Consent”. At this symposium I heard the research and experience of students and professionals all working towards the common goal of ending sexual violence.

A recurring point throughout was the need for early education on not only consent, phthisiatrician but also sexuality. In Canadian curricula, cheap ideas around consent are mentioned vastly less than ideas around abstinence. A question was asked to how we can expect our children to understand what is and is not consent when much of the time their own body parts are taboo. What we need is to teach affirmative sexuality before teaching affirmative consent. Affirmative sexuality means to have more comprehensive sexual education early on, teaching positive sexuality and sexual exploration. Now in no way does this mean we should be teaching children to be aggressively sexual at an early age, no, this means to teach them the difference between good touch and bad touch, and that it is okay to know their own bodies. The fact of the matter is that when I was growing up and my body was changing, nine times out of ten I had no idea what was going on and neither did my peers. Of course I was taught the basics, how my breasts would grow — but not about how it would hurt like hell when they did, how I would bleed at some point — but not how it was not just blood but also clots and tissue. The first time I experienced vaginal lubrication I was terrified because I had no idea what was going on. Affirmative sexuality means not separating classrooms by sex when we talk about menstruation.

A lot of people have no idea what rape is. The myth still perpetuates that the typical rapist is someone you don’t know, jumping out at you from a dark alleyway; this is not the truth. Statistically the majority of sexual violence is perpetrated by someone known to the victim — a friend, family member, acquaintance, coworker, etc. Many people believe that if you are in a conjugal relationship with someone that is you giving consent 100% of the time. The fact of the matter is that consent is an ongoing conversation. Some key points about consent:

  • Consent is freely given
  • Consent cannot be given past a certain point of intoxication
  • Consent is not consent if it is given under duress
  • Consent is not consent if it is given from feelings of guilt

There is, of course, some difficulty around obtaining comprehensive statistics around sexual violence. The main issue is that the majority of sexual violence crimes go unreported. Why exactly is it that the reporting rate is so low? Well there are multiple different tiers to this. Firstly, the victim may not understand what has gone on for days/weeks/months/years. I know for me I was always uncomfortable with certain events in my sex life but it took years for me to actually label them as sexual violence. The second issue is that if you do report you are committing to tell your story over and over and over again. Added to that, a victim then has to face a whole variety of reactions from the people they tell. There are two reactions to a victim which are either acceptance, care, belief and empathy or questioning, blaming the victim, disbelief and brushing off the incident. This last, in my experience, is the main reason why so few people report. A major change we need to make in our society is to shift the blame. Consistently victims — who either report to authorities or not — are asked what they were wearing, were they intoxicated, were they out late, did they know the people around them etc. This is ridiculous because rape is never the victim’s fault, though many people in our society believe that it is. Added to that if the rapist was a sexual partner of the victim then it is often brushed off because many seem to think that being in a relationship implies continuous consent, which it does not.

To be continued in Pt. 2!

~ Madison

Ask First Pt. 2

A plethora of individuals participating in activism and advocacy around sexual violence have made videos, vitamin charts, health etc about what is and is not consent. My all-time favorite is the video below which compares the experience of sexual consent with the experience of making someone tea and all the nuances involved with consent-based interaction.

A huge part of sexual violence change/awareness campaigns, ambulance as we know, is social media. There has been an explosion of “hashtag campaigns” some good examples of which are:

  • #BeenRapedNeverReported
  • #IBelieveYou
  • #redmylips
  • #YesAllWomen

What makes these so wonderful and powerful is the vastness and accessibility of the internet. Hashtag campaigns often go viral and we see a huge surge of people using these campaigns to tell their stories and give visibility to social causes. Visibility is incredibly important to social justice campaigns because often the populous at large does not know the full extent of these issues. Something I find myself forgetting rather often is this lack of knowledge. Because I work extensively on the topic of sexual violence, I am hyper aware of the statistics while many are not. Well then, why aren’t activists shouting the statistics from the rooftops? Unfortunately just spouting statistics is not a good tactic to spread messages of activism because it is hard for people to connect to those numbers. The beauty of hashtag campaigns is they make these messages very personal. There is a colossal difference in the impact of a message when it is a single statement of a statistic versus an actual example of a statistic. Much of this hashtag activism is to say “yes this is a massive problem, I have experienced it and so have all of these other people”. As we have seen time and time again is when one person stands up to tell their story, it creates a trickle that turns into a waterfall over time of others standing up and sharing their similar narratives.

Unfortunately there are certain drawbacks to social marketing. At Ask First one of my favorite presenters was Jennifer Dooley who works in social marketing. Her presentation spoke to the theories and methodologies behind social marketing and what makes successful and unsuccessful social marketing campaigns. Something she highlighted was the Stages of Change model which is broken into three parts:

  1. Core: immediate benefits
  2. Actual: behavior promoted
  3. Augmented: tangible objects/services

The average human attention span is about 7 seconds, so social marketing campaigns have to hit the mark very hard and very quickly in order to reach their targets. In the future I hope to deeply explore social marketing and merge some strategies with my art to have more of an impact on my own audience.

~ Madison

17 Minutes

 

Since very few of you have actually seen my work I felt that it might be a good idea to show you some of what I have done in the past. The project that essentially started it all is entitled “17 Minutes” (pictures at the end!), buy which, vitamin 3 years ago, was statistically how often a woman in Canada was subjected to sexual assault. I found out this statistic shortly after I started working on this project, Laura Vickerson left an incredibly informative (and horrifying) article on my desk about sexual violence in Canada. Did you know that in legal terms in Canada we do not label unwanted sex as “rape”? In Canada we have “sexual assault” which is broken into 3 levels:

  1. Sexual assault level 1 is committed in a sexual situation and compromises the sexual integrity of the victim. The victim is subject to minor or no physical injury.
  2. Sexual assault level 2 involves weapons, threats or bodily harm
  3. Sexual assault level 3 involves permanent and/or life-threatening injury to the victim

In Canada 1 in 3 women will experience sexual violence in their lifetimes, the number in Alberta is even more frightening at just over 1 in 2 women. 17 Minutes is my own stories about my experiences as a victim of multiple instances of sexual violence. From speaking with several activists working to end sexual violence I’ve discovered that these definitions are rarely even discussed in courtrooms, often the conversation just revolves around blaming the victim. Discussing victim blaming, and why the discourse around sexual violence rarely centers around perpetrators, is the next step for my future work.

~ Madison

Making Personal Work

writing-plates
Rael Lockwood. Dear Diary Series. Hand built ceramic plates. 2016.
letter-to-a-dress2
A Letter to a Dress. Stitched silk and a wedding dress. 2016

I have really developed a stronger understanding of my work by examining textiles as a personal and cultural archive. Looking back on past works really established the emphasis I have on the personal aspects of making and how textiles and ceramics has helped that.

I would like to summarize my studio process and work this year a piece from my final paper this term about my work thus far.

“Cloth preserves values and traditions and provides us with connective experiences as we interact with cloth in our material world. My goal is to create lasting relationships with textiles that other people can relate to. I believe that there are traces of ourselves left in materials as we interact with; traces that change them into objects of meaning. I see those traces as hints of the hand that gives the work value. Meaning is established through the process, link social consideration, and personal reflection. Meaning is established through memories. Memories that would be mere ephemera if they did not embed, dare I say weave, themselves into our consciousness; into the cloth and textiles that we surround ourselves with. The textiles that protect us and guide us.”

Rael

An interview with a Fellow Studio mate

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Sometimes we forget to really ask our colleagues difficult questions about their work. I am taking this opportunity to sit down and ask Asma Ismail a few things about the development of her art practice.

Rael: Why ACAD, viagra approved I am always really curious about the origin stories or decisions people make to attend art school.

Asma: honesty, sick it is because I did not know what else to do, and though it was a good foundation for building the potential for a masters later.

Rael: What was the most crucial material/technique that changed or developed your work now? Why

Asma: Natural dyes. Cause synthetic dyes seemed dull and not right. They was no connection to the dyeing process whereas the natural dye process is so demanding of my body, and constantly keeping me engaged and reworking around the unexpected turn of events.

Rael: Have you looked at graduate program yet?

Asma: No, it makes me want to cry.

 

-Rael

 

 

A peak into the mind of Rael

screen-shot-2016-12-09-at-2-22-35-pm

 

If you could advise the 3rd year fiber majors what would you advise them about?

“Get involved with as many things as possible. There are so many opportunists to work with and collaborate with other creative people in this institution. You should cherish the opportunity while you still have it and be okay with being busy and tired all the time.”

If you could go back and do something different within the past 4 years of your graduate degree what would you do?

“I would have taken ceramics earlier on in my degree”

 

If someone is going to steal your art, side effects which art piece do you think they would steal ?

“ummmm I think they would .. probably steel my 30ft silk weaving because its nice. My sister already has her eye on it, she thinks it would be a good baby wrap”.

 

Asma