From embattled cities in Syria to intractable encounters in Israel, the writing of Deborah Campbell fuses journalism and travel writing with the kind of personal observations that can only come with being immersed in some of the most pressing international issues of our time.
New Writing prof Deborah Campbell
Now, Canadian author and literary journalist Deborah Campbell will become the latest addition to UVic’s celebrated Department of Writing. Starting July 1, 2018, Campbell will be the new assistant professor of creative nonfiction; she will also become Director of the Professional Writing program in January 2019.
“Deborah Campbell instantly makes UVic’s Department of Writing the destination in Canada for aspiring nonfiction writers who want to learn how to fuse a distinct personal voice with a depth of research and a keen social conscience—just as Deborah has done for years,” says Writing chair David Leach.
“Her on-the-ground experience as a writer and reporter for major international publications has prepared her to inspire a new generation of young journalists to investigate local and global issues amid a rapidly evolving publishing industry,” he continues. “And her immense talents as a prose stylist make her a natural fit for a department long known for mentoring several generations of Canada’s top creative writers.”
Campbell’s most recent book, A Disappearance in Damascus: A Story of Friendship and Survival in the Shadow of War (Knopf Canada 2016, Picador USA 2017), won both the Writers’ Trust Hilary Weston Prize and the Hubert Evans BC Book Prize. Screen rights have been optioned by writer/director Terry George (In the Name of the Father, Hotel Rwanda). Her work has also been collected in seven separate anthologies.
“I hope to contribute my experience writing books and magazine articles from around the world, along with my knowledge of today’s fast-changing publishing climate,” says Campbell. “It’s my goal to equip the next generation with the skills and confidence to tell stories that matter.”
A world of experience
Deborah Campbell has written for Harper’s, The Guardian, The Walrus, The Economist and many other publications. Winner of three National Magazine Awards, in 2017 she also received the Freedom to Read Award, presented annually by the Writers’ Union of Canada in support of freedom of expression.
“There is so much to admire in the work of Deborah Campbell,” Writers’ Union Chair George Fetherling said at the time of her award. “Whether she is writing about war artists, international care-givers, the bafflingly complex politics of nuclear arms, or the ongoing refugee crisis in the Middle East, she does not shy from controversy, and is devoted to letting all voices find a place on her page.”
Campbell holds both a BFA and MFA in Creative Writing from UBC, and did undergraduate studies at institutions ranging from University of Paris-La Sorbonne and Tel Aviv University in Israel to SFU. Her teaching experience includes positions with the Creative Writing Program and the Graduate School of Journalism at UBC, as well as Vancouver’s Langara College. Interestingly, beyond being fluent in French, she also has a basic working understanding of Hebrew, Farsi, Arabic and Spanish.
“Deborah’s publications in such prominent magazines as Adbusters, Harper’s and Foreign Affairs, as well as her two powerful books about the complexities and dangers of life in the Middle East, helped to set her apart from an incredibly deep and strong field of applicants for this position,” says Leach. “She comes to the department with extensive experience as an instructor of nonfiction and journalism, and rave reviews from her past students and teaching peers.”
The latest chapter
For her part, Campbell is excited to be the latest chapter in the ever-evolving legacy of UVic’s Writing department. “I first heard about the department in the best possible way: from writers who got their start at UVic and are now writing books and winning awards,” says Campbell. “I’m delighted to be joining such talented faculty and students.”
Her work will compliment the current creative nonfiction and journalism classes taught by the likes of David Leach, Lee Henderson and the annual visiting Southam Lecturer in Journalism and Nonfiction, as well as sessional instructors like Frances Backhouse, Christin Geall, Annabel Howard, Kirstie Hudson, and John Threlfall.
“While it was founded by poet Robin Skelton, almost since its inception the Department of Writing has included courses and programs focused on nonfiction writing and publishing,” notes Leach, “evolving from book publishing and newspaper reporting, through memoir, literary journalism and new digital forms of nonfiction.”
It’s doubly fitting that the upcoming concert by UVic’s Wind Symphony is titled “Finale” — not only is it the final Wind Symphony concert of the 2017/18 season, but it will also mark the final bow for beloved conductor and highly respected music educator Dr. Gerald King.
Dr Gerald King
For the past 29 years, King has been the primary conductor of UVic’s highly praised Wind Symphony, but the maestro will put down his baton after the March 23 concert as he prepares to retire from UVic’s School of Music in June. And, fittingly enough, the program for this special concert includes pieces significant to both the Wind Symphony and to King himself.
“These are works which I consider to be cornerstone pieces,” he says. “They are not necessarily all incredibly profound, but they have contributed to the growth of the Wind Symphony and have very personal meaning for me.” This includes Fantasia on Klezmer Themes by Russian-Canadian composer Airat Ichmouratov, which he recalls “the audience went wild for when we performed it in 2013.”
Clarinetist Patricia Kostek — who retired from the School of Music at the end of 2017 after 28 illustrious years at UVic — will return for this encore performance. As colleagues, the two have collaborated extensively (clarinet is also King’s instrument), so it was fitting to bring the piece back to the stage in March with Kostek.
Other works on the program include Jack Stamp’s Gavorkna Fanfare — a nonsense title that King conducted in his very first concert with the Wind Symphony — as well as Lux Aurumque by Eric Whitacre, LOL by Robert Buckley, A Movement for Rosa by Mark Camphouse and others.
An enviable legacy
The UVic Wind Symphony is recognized as one of the premiere performing wind ensembles in the Pacific Northwest and among the finest university wind ensembles in Canada — and much of that credit goes to King’s expertise, commitment to the students, and his sometimes “tough-love” approach to teaching — as evidenced by the praises to Dr. King coming in on social media once word of his retirement got out.
Leading the Wind Symphony
“His seriousness encouraged us to put in maximum effort,” recalls Shannon McCready (BMus ’02). “He had very high expectations, which let us know that he believed in us, sometimes more than we believed in ourselves,” agrees Cooper Reed (BMus ’17), who feels especially grateful for all of his words of encouragement and support. “I have had so many wonderful performance opportunities since graduation because he gave me the confidence and tools I needed to be a successful musician.”
See below for even more reaction to Dr. King’s retirement.
But King’s work with the Wind Symphony is but one of the many legacies he will leave behind. He started his teaching career at UVic 30 years ago in the Faculty of Education, and his appointment as conductor of the Wind Symphony in 1989 was the first of many stepping stones in his vision to see Music Education formally housed within the School of Music; this became a reality in 2014 following King’s two terms as Director of the School of Music.
As Fine Arts Dean Susan Lewis notes, King leaves behind an enviable legacy. “Dr. King’s service to the School, the province and Canada more broadly is significant — over the past 25 years he has worked with over 10,000 ensembles and soloists representing more than 500,000 musicians,” she says. “His vision and leadership of the music education program has led to UVic alumni directing music programs in the K-12 sector across the province; his mentorship of new and continuing faculty and students, his leadership of Music Education, and his expertise as a band conductor are most appreciated and will be missed. As Dean, former Director of the School of Music and a colleague, I’d like to express my warm congratulations to Dr. Gerald King as he retires after 29 brilliant years in the School of Music.”
Indeed, UVic’s Music Education program is nationally recognized and many of the province’s elementary and secondary school music educators were once students of his. “I owe Dr. King so much for helping shape me into the music educator I am today,” says Cameron Kenis (BMus ’15), band and musical theatre teacher at Abbotsford Traditional Secondary School. “He has influenced my teaching is so many ways and I thank him for it.”
During his eight years as Director of the School of Music, King was also instrumental in UVic’s 2008 designation as Canada’s First and only All-Steinway School (a title which still stands today), leading the campaign to equip all Music classrooms, practice studios and concert halls with over 60 Steinway pianos. Given that Steinway pianos are known for their outstanding acoustical and performance properties, the opportunity to play on the best pianos in the world puts UVic students at a tremendous advantage.
New scholarship looks to the future
One final nod to the future is the establishment of the Dr. Gerald King Legacy Scholarship in Music Education. This new student award will see one or more scholarships awarded to academically outstanding undergraduate students in the Bachelor of Music (Music Education) program. Selection of the recipients will be made by the Senate Committee on Awards upon the recommendation of the School of Music. Please join us in contributing to this outstanding scholarship worthy of Dr. King’s years of service to the students and the university community. Donation cards will also be distributed at the March 23 concert.
King describes his upcoming retirement as bittersweet. “I love the students and faculty that I’ve worked with over the years, but the new horizons are also very exciting,” he says. (Already on his calendar are numerous engagements for guest conducting, adjudicating, keynote speaking and working with graduate students at other institutions.) “The biggest change will just be my office,” he says with a chuckle.
Don’t miss maestro King’s Finale concert with the UVic Wind Symphony on March 23 in the University Centre Farquhar Auditorium — sure to be a memorable evening!
—by Kristy Farkas, with files from John Threlfall
School of Music alumni offer some thoughts on the legacy of Dr. Gerald King
“I thank my lucky stars to have been a student at the School of Music between 1998-2004,” writes Mandart Chan. “One of my favourite memories was being the Ensemble Librarian for the Wind Symphony and Orchestra. Gerry taught me so much about repertoire, programming, conducting, teaching, cooking and life; I wouldn’t be where I am right now if it wasn’t for his mentorship over those years and now. He will be missed at UVic!”
“I’m thankful to Gerry for modeling that a teacher’s job is to set a very high standard for our students while sharing our passion of music,” notes Jenn McVie-Britton.
“I basically put UVic on my dream-school list because of the awesome experience of playing flute and piccolo in the MB provincial honour band with Dr. King,” says Erin Bardua. “I didn’t get to take Education classes and I think I only spent one term in Wind Symphony, but he continued to terrify and impress me in the halls.”
“I am so honoured to have had the opportunity to work with Dr. King in my journey to become a music teacher,” writes Emily McDermid. “I have very fond memories of instrumental techniques where he suggested I learn the ‘most noble instrument’ — the clarinet. At the end of the semester he joined us in a barely recognizable version of ‘Jingle Bells.’ Point is, I got to play clarinet with Gerry!”
“Gerry recruited me right from high school to come to UVic,” recalls Ken Roberts. “I did four years of Wind Symphony on tuba and I also took his Music Ed classes. I have to say although my life took me in a different direction, I cherish the time I spent learning, laughing and playing. I’ll always remember the many looks I received from over the top of his glasses. Enjoy your retirement, Gerry!”
“I did directed studies with Gerry and have corresponded at length with him about social action through music,” says Jonathan Govias. “He is the kind of person you imagine will always be there . . . until he isn’t.”
“Gerry King jacked me up, military style, when I told him I wanted to quit the Wind Symphony,” recalls Nadia Pona. “I left in tears, got my shit together, and now I’m in the Navy. The irony is not lost on me. That conversation in his office was a pivotal moment in my introduction to professionalism as a young adult and a very important memory. I learned a great deal under his baton as well. I hope he enjoys a well-deserved retirement.”
“I had the pleasure of playing in Wind Symphony for one year with Dr. King,” writes Heather Raines. “It was a difficult year for the French horns, as it was the year that Dick Ely, our beloved horn teacher died. Dr. King was sympathetic and understanding. I’m not sure if it was intentional but he found a piece of music that was exceptionally challenging for the French horn. Before introducing it to the orchestra, he showed it to the horn section and asked if we’d be able to play it. By involving us in this decision, he managed to engage us and have us interested in the music, while we were grieving.”
“In my first or second rehearsal ever with Wind Symphony, Gerry tore me apart for not being able to play a tom solo,” recalls Jay Schreiber. “I practiced hard for the next week and nailed it at the next rehearsal. He looked at me in his signature ‘over the glasses’ glare and sincerely remarked, ‘percussion . . .good job.’ Taught me a lot about playing in a section, and doing a service to the greater musical cause. Next semester I was section leader in Wind Symphony until the end of my tenure at UVic.”
“I had never been in a band like the Wind Symphony before and I had never had a conductor like Gerry,” writes Ethan Shoemaker. “I was terrified and inspired at the same time; I knew from the minute he stepped on the podium that I didn’t want to let him down and that at the very root of it, all he wanted was for each and every one of us to succeed. From my very first rehearsal to my music education classes to our conducting classes, I was lucky enough to learn and grow from the careful and honest guidance of Dr. King. So much of how he taught, conducted, and carried himself off and on the podium impacted me personally and professionally. I can honestly say that a day does not go by where I don’t have a ‘What would Gerry do?’ moment in my teaching and conducting life. I am privileged to have been taught by Dr. King and I am honoured to call him my friend: this is truly the end of an era. All the best with your retirement Gerry! Thanks for more than you will ever know!”
“I am very thankful for Gerry’s guidance and support throughout my years at UVic,” says Kristen Birley. “I remember being unsure about whether I wanted to go into music education and he was pretty determined to encourage and convince me that it was where I belonged. He was right! Thank you, Gerry!”
Shakespeare’s funniest and shortest comedy is getting a reboot for the digital age.
Self-professed Shakespeare nerd Jeffrey Renn — currently completing his MFA in Directing at the Department of Theatre — has been working to create a Shakespeare production that would truly engage the iTunes generation. This week, the director opens his unique adaptation of The Comedy of Errors at UVic’s Phoenix Theatre, blending Shakespearean verse with contemporary music to create a zesty production that’s more Broadway pop musical than Elizabethan classical.
Of course, Renn isn’t new to either acting, directing or reinterpreting the Bard. From the London Academy of Music and Dramatic Arts to both the Stratford and Shaw festivals and even Broadway, he has performed Shakespeare across the world. “I have been blessed to work with rare artistic genius when it comes to Shakespeare,” says Renn, “including the legendary Robin Phillips.” (Well-known as the artistic director who put Ontario’s famed Stratford Festival on the map, Phillips sadly passed away in 2015 ).
Comedy of Errors director Jeffrey Renn
“I’m grateful to have been included in a traditional process of giving, sharing and playing that was taught to me by my theatre mentors,” he continues. “There’s now a line that travels through Shakespeare, back to the Greeks and forward to these amazing young artists on stage today. I want to be able to have young people as excited about the Bard’s work as I am.”
Comparing Shakespearean theatre to music videos, Renn feels the cutting-edge technology in music videos offers a shared vocabulary uniquely driven by youth—much as it was with theatre in Shakespeare’s day. As such, he wanted his pop-musical adaptation of The Comedy of Errors to look and feel like a contemporary music video, with an extensive use of mirrors to create a club-like environment and extend the themes of reflection right into the audience.
Two times the fun
First told in Roman times, The Comedy of Errors is an intricately-entangled farce of mistaken identity telling the tale of two sets of twins, separated at birth, who find themselves in the same city (and, coincidentally, also have the same name). Chaos ensues as their worlds collide and they end up questioning their own identities; of course, the crazy mix-up resolves into a tale of family reunion, love and self-reflection. (Cue the mirrors!)
The cast of Comedy of Errors (photo: David Lowes)
For the Phoenix production, Renn has transposed the setting to modern-day New Orleans during the annual Mardi Gras festivities, and sought inspiration in the music of Nina Simone, Queen, Beyoncé, Justin Timberlake and many others. He adapted the play with music, integrating Shakespeare’s actual verse into versions of the songs he hopes will help student audiences better relate to the themes of the play.
“Young people have always been searching for a sense of meaning, a sense of recognition,” he explains. “In order to know ourselves, we mimic behaviour, we mirror it — or, in the vernacular of music culture, we’re sampling it, making a mashup. Today, millennials understand the journey of self-identity as a performative act, framing and reframing their world through their digital devices . . . I wanted to change the play’s context to help students see themselves through Shakespeare’s words, to have fun, and make it theirs.”
Get your glow on with illuminated costumes (photo: David Lowes)
To ensure the authentic sound of youth culture, fourth-year student Aidan Dunsmuir fills the auditorium with an energetic sound design while lights explode on to the stage; colourful spandex and bling bring out the outlandish costumes of Mardi Gras parades, as well as the razzle dazzle of the club scene, with costumes designed by fourth-year student Jivan Bains-Wood. Fast-paced choreography by Christina Penhale, of Salt Spring Island’s exitStageLeft, and a clever glow-in-the-dark skeleton dance (with high-tech EL Wire suits designed and programmed by fourth-year student Matthew Wilkerson) completes the allusion to music video aesthetics.
Also offering their professional skills to this production are School of Music performance instructor and Vocal Jazz Ensemble director Wendell Clanton as music director, Theatre design professor Patrick Du Wors as set designer, and Distinguished Alumni Award recipient Michael Whitfield as lighting designer.
Sisters are doing it for themselves at the Phoenix (photo: David Lowes)
“We’re adapting Shakespeare’s adaptation of a Roman play that is almost 2,000 years old, proving that our basic humanity really hasn’t changed since then,” says Renn. “We might live differently technologically, but we’re still the same: we still have our human foibles, and we’re still really funny . . . and with what’s happening in our world today, we need laughter — silly belly laughter — and not the sort born of cynicism.”
By Kayla Foster-Brandt
Phoenix Theatre’s The Comedy of Errors runs March 15 to 24, Mondays through Saturdays at 8pm, with 2pm Saturday matinees on March 17 and 24. Tickets range from $16 to $26, with $8 same-day previews on March 13 & 14. Director Jeffrey Renn will also offer a Preshow Lecture at 7pm Friday, March 16, where he will discuss adaptations of Shakespeare plays he has been involved with over the years. (All are welcome to the Preshow Lecture, whether you’re attending the show that night or not.) For tickets, please call the Phoenix Box Office at 250-721-8000.
One of the best parts of being a Fine Arts faculty in an arts-rich city like Victoria are the opportunities available to current students through our associations with local cultural institutions. From Pacific Opera Victoria and the Art Gallery of Greater Victoria to Open Space and the Belfry Theatre (to name but a few), our students don’t have to wait to graduate to gain valuable first-hand experience working alongside professional artists, technicians, designers and directors.
Case in point: the Belfry’s annual SPARK Festival, running March 8 to 25. Beyond their outstanding lineup of fascinating shows — including the monologue Who Killed Spalding Gray? written and performed by Canadian theatre royalty Daniel MacIvor, who previously worked with Department of Theatre students to present the world premiere of Inside at the Phoenix Theatre in 2011 — SPARK 2018 offers current students in both the Theatre and Writing departments the chance to show their talents to Victoria’s wider community.
Noted playwright Janet Munsil
Playwriting students will have the opportunity to present scenes from shows-in-progress at a special New Play Cabaret. Working in conjunction with student actors and directors from the Theatre department, SPARK audiences will enjoy scenes from new plays by Department of Writing MFA candidates Janet Munsil and Elliott James, and fourth-year undergrads Sarah Pitman and Alaina Baskerville-Bridges.
The free New Play Cabaret starts at 7pm Sunday, March 18, in the Belfry’s lobby.
Talented Fine Arts students and alumni are also heavily on display during SPARK’s annual free Mini-Play Festival, which offer short 10-minute productions staged all over the Belfry’s building — from hallways, offices and storage rooms to the basement and the attic, you’ll never know where you’ll see one of these micro-plays.
This year’s Mini-Plays feature work by Theatre alumni Pamela Bethel, Charles Ross (of One-Man Star Wars fame), Monica Ogden and Tony Adams, current Theatre student and 2016 City of Victoria Youth Poet Laureate Ann-Bernice Thomas (directed by fellow student Karen Saari), plus Writing alumni Kai Taddei (formerly Kat Taddei), and Visual Arts alumna Lindsay Delaronde, currently Victoria’s Indigenous Artist In Residence and creator of Pendulum, the contemporary Indigenous artist showcase recently seen at the Belfry.
Have you heard? Mini-Plays are back at SPARK!
This year’s Mini-Plays are all commissioned by the Belfry and inspired by 6ixty 8ight, a new play by former Department of Writing instructor Charles Tidler. But be warned: most Mini-Plays only offer space for less than 10 people, so be sure to get there early to get a spot.
Mini-Plays run in two batches March 14 -17, and March 21 – 24: Wednesday/Thursday at 7:00 & 7:15 pm and Fridays/Saturdays at 7:00, 7:20 & 7:40 pm. Week one features Lindsay Delaronde, Charles Ross, and Monica Ogden & Tony Adams, while week two features Pamela Bethel, Kai Taddei, and Ann-Bernice Thomas.
Also on view during the SPARK Festival is the annual Belfry 101 Live presentation, a new play created and performed in just one short week by local high school students. This year, Belfry 101 is directed by Theatre alumna Erin Macklem, and local improviser par excellence Dave Morris of Paper Street Theatre. Belfry 101 Live starts at 7:30 pm on Sunday, March 25, on the Belfry’s mainstage.
En’owkin alumna Krystal Cook
Also part of SPARK is the new play reading of Sunday in Sodom by noted playwright Jordan Tannahill, which is being performed by a number of Phoenix alumni including Trevor Hinton, Paul Terry, Jack Hayes and Laura Jane Wallace, as well as longtime Theatre professor Jan Wood. That free reading starts at 7:30pm Monday, March 19, in the Belfry lobby.
Finally, Krystal Cook, an alumna of the En’owkin International School of Writing — which jointly awards the Indigenous Fine Arts Certificate with UVic’s Writing department — is part of the creative team behind Why We Are Here!, a site-specific pop-up choir production on Monday, March 12.
Cue the spotlight!
Interested in contemporary Indigenous art practices? Excited by some of the dynamic and engaging work being created and exhibited both locally and nationally? Wondering how contemporary artists respond to important issues like Truth & Reconciliation, and Murdered & Missing Indigenous Women & Girls? Join the Visual Arts department for a special illustrated lunchtime lecture series featuring three prominent local Indigenous artists.
Tlehpik Hjalmer Wenstob: Friday, March 9 • room 103 of the Fine Arts building
Lindsay Delaronde: Monday, March 12 • room A146 of the Visual Arts building
Carey Newman: Friday, March 16 • room 103 of the Fine Arts building
All talks run noon to 1pm, and all are free.
About the artists:
From Tlehpik Hjalmer Wenstob’s “Transfigurations”
Visual Arts BFA/MFA alumnus Tlehpik Hjalmer Wenstob is a multidisciplinary artist from the Tla-o-qui-aht First Nation, on the West Coast of Vancouver Island. Coming from a background of carving, Wenstob’s work has transformed and reformed many times over the years, working in many different mediums, with a focus on sculpture. He has three dialects of art practices, all from the same visual language: traditional work, community/engagement, and contemporary art. While heavily involved in youth engagement and politics, as the Assembly of First Nation’s youth representative for BC and Canada, Wenstob’s work has taken on a balance of history, education, humour, question, and politics.
Coming from a background of carving masks, totem poles and working predominantly in red cedar, Wenstob’s work has transformed through materials and subject matter. With an interest in public installation, curation, mentorship, and sculpture, Wenstob has had work displayed and installed nationally across Canada. His most recent installation—created while mentoring youth—was four Bighouses on the front lawn of the BC Legislature building, which then led to a show currently on view at the Art Gallery of Greater Victoria.
Lindsay Delaronde running a corn doll workshop at Legacy Gallery in 2016 (photo: Corina Fischer)
Visual Arts MFA alumna Lindsay Delaronde is currently the City of Victoria’s Indigenous Artist in Residence and a strong advocate for Indigenous voices, stories, culture and history. Born and raised on the Kahnawake reservation, Delaronde has been living on the West Coast for the past 10 years. In addition to her Visual Arts MFA, she holds a BFA from the Emily Carr Institute of Art and Design, and a Master’s degree in Indigenous Communities Counselling Psychology, also from UVic.
A professional multi-disciplinary visual artist who works in contemporary Indigenous performance and facilitator of traditional workshops, Delaronde has been consistently active and made significant commitments at the local and national level. Her areas of research are stemmed in Contemporary and Traditional First Nations art, expressive arts therapy and working with Indigenous and non-Indigenous peoples within the arts and counseling. Her research focuses on land- based, collaborative practice, cultural resurgence and social/political activism through the arts.
Carey Newman or Hayalthkin’geme is a multi-disciplinary artist and master carver. Through his father he is Kwagiulth from the Kukwekum, Giiksam and WaWalaby’ie clans of Fort Rupert, and Sto:Lo from Cheam along the upper Fraser Valley; through his mother he is English, Irish, and Scottish. Through his work he strives to highlight either Indigenous, social, or environmental issues. He is also interested in engaging with community and incorporating socially innovative practice into his artistic process. Newman’s most recent major work — the Witness Blanket, made of items collected from residential schools, government buildings and churches across the Canada — deals with the subject of reconciliation. (Another prominent local public piece is the ornately carved ceiling of Pacific Opera Victoria’s Baumann Centre on Balmoral Road.)
In 2008, Newman was selected as the master carver of the Cowichan 2008 Spirit Pole, a journey that saw him travel BC sharing the experience of carving a 20-foot totem with over 11,000 people. In 2009, he was selected from a national call to artists by VANOC and won the right to create a large installation: his piece “Dancing Wind” was featured during the 2010 Olympic Games, and consisted of 4 large panels, made from stainless steel, cedar and glass. He has done work for corporations, government agencies and museums around the world and is continually thankful for the opportunity to try new ideas.
These talks are in addition to the Visual Arts department’s proven commitment to Indigenous artists and their practices, as evidenced by their long-running Audain Professorship of Contemporary Art Practice of the Pacific Northwest—which has afforded Visual Arts students the opportunity to work with the likes of Governor General’s Award-winner Rebecca Belmore, Michael Nicol Yahgulanaas, Rande Cook, Nicholas Galanin and Jackson 2Bears. And the Faculty of Fine Arts supports the work of Indigenous artists and creative practitioners in a variety of ways, which you can read about here.