Whether you’re a regular part of the UVic community or simply a visitor to campus, Ideafest 2018 offers an ideal chance to explore the vast and diverse range of research and creative activity happening all around the Ring Road. Fine Arts is offering five distinct events this year, and participating in some others as well.
Rightfully described as being about “ideas that can change everything,” UVic’s week-long festival of research, art and innovation runs March 5-10 and features over 40 events on topics ranging from climate change and chamber music to Indigenous law, optimistic art, antibiotic resistance and so much more.
All events are free and open to the public — please join us at any or all of our signature Fine Arts events, and be sure to take time to explore the full schedule as well. You never know what your new favourite topic might be!
First up on the Fine Arts schedule is the annual reading night featuring Department of Writing MFA candidates. Hosted by award-winning playwright and Writing professor Kevin Kerr, All Lit Up: Creative Writing’s Bright Lights offers live readings and performances by the next generation of Canadian literati, including Levi Binnema (poetry), Sarah Hamill (nonfiction), Daniel Hogg (screenwriting), Elliott James (playwriting) and Kari Teicher (fiction).
Enjoy this lively (and licensed) literary cabaret from 7 to 8:30pm Monday, March 5, at the popular Copper Owl — one of downtown’s most unique and charming arts venues, (upstairs at Paul’s Motor Inn, 1900 Douglas). Doors open at 6:30, and this event always packs out so do arrive early. Note: no minors.
For over 50 years, UVic’s School of Music has had a long history of producing outstanding string students — helped along in no small measure by the Lafayette String Quartet, who have been artists-in-residence here since 1991. Now, you can discover the next generation of outstanding string talent with Cuarteto Chroma — Canada’s first graduate student string quartet. The event String Quartets at UVic: A Musical Continuum offers an interactive performance where Cuarteto Chroma will invite the audience to suggest how they should perform a particular piece — deciding things like tempo, vibrato and the balance between each instrument — which will allow the audience to hear the effects their choices have on the musical outcome.
Afterwards, Chroma will join the Lafayette String Quartet for an informal Q&A session, followed by a Lafayette-taught masterclass for UVic string students — that’s three opportunities to catch a glimpse of the intimate world of chamber music and explore the hidden facets of life in a string quartet. A Musical Continuum runs 11am-2:30pm Tuesday, March 6, in room B037 and the Phillip T. Young Recital Hall, both in the School of Music’s MacLaurin Building B-Wing.
Performers will include the Lafayette String Quartet (Pamela Highbaugh Aloni, Ann Elliott-Goldschmid, Joanna Hood and Sharon Stanis) and Cuarteto Chroma (Felix Alanis, Manuel Cruz, Ilya Gotchev and Carlos Quijano), as well as undergraduate string students. Interactive performance runs 11am–12:15pm in the Phillip T. Young Recital Hall, while the Q&A session runs 12:30–1:20pm in B037, and the chamber music masterclass runs 1:30-2:20pm back in the Phillip T. Young Recital Hall, just next door to the classroom.
If Bobby McFerrin’s classic singalong ditty “Don’t Worry, Be Happy” isn’t quite cutting it for you these days, art may be the answer: in troubling times, optimism can feel like a scarce commodity, but for centuries people have found hope and joy in visual art. Art and Optimism in an Age of Worry offers a lively series of short presentations as Art History & Visual Studies faculty members and graduate students will explore how artists and their works have long offered new messages of hope, healing and empowerment. While showcasing a wide range of styles and movements, they will also collectively demonstrate how art can ignite optimism and agency in your own life.
Join host and AHVS professor Catherine Harding from 5-7pm on Tuesday, March 6, in room 116 of UVic’s Engineering & Computer Science building (ECS), where she’ll be joined by fellow AHVS professors Erin Campbell and Carolyn Butler Palmer, plus grad students Holly Cecil, Gonzalo Gutierrez, Alexa Heenan, Ambreen Hussaini, and Katayoun Youssefi.
If you think Fine Arts is just about paintbrushes, sheet music and words on the page, get ready to enter the digital realm and discover a whole new world of creativity when you go Beyond the Digital Frontier: Exploring Digital and Interactive Media in the Arts. From virtual-reality filmmaking and innovations in digital art to interactive gaming, artifact handling, new theatre technology and into the recording studio with Vancouver rockers Bend Sinister, find out how UVic’s Faculty of Fine Arts is a leader in 21st century creativity at this interactive, drop-in, self-guided exploration event.
Professors Kelly Richardson (Visual Arts), Kirk McNally (Music) and Victoria Wyatt (AHVS), plus technician Simon Farrow (Theatre) and both graduate and undergrad students will showcase recent innovations in the world of digital media from 5-6:30pm on Wednesday, March 7, throughout UVic’s Fine Arts Building.
And you’ve got the entire week of Ideafest to explore the Visual Arts exhibit Math Garden. Conceived of as an outdoor concept exhibition by Visual Arts instructor David Gifford, Math Garden explores some of the visual aspects concerned with popular mathematics. Topics such as amounts, shapes and change will be imagined by the undergraduate drawing class of ART 300, whose motive is to celebrate a handful of patterns that are present in this abstract discipline.
Math Garden is inspired by Mathematica, an exhibition of mathematical concepts by Charles and Ray Eames that debuted at the California Museum of Science and Industry in 1961. The self-guided exhibit in the Fine Arts Building courtyard will also include didactic panels for the purpose of intellectual entertainment, including the explanation of potentially difficult concepts through pictures and interactive sculptures and installations.
While those are our signature events, Fine Arts students will also be participating in the likes of the annual Jamie Cassels Undergraduate Research Awards (JCURA) Fair from 11:30am-3pm on Wednesday, March 7, in UVic’s Student Union Building, as well as the new creative writing contest On the Verge: Student Voices, co-hosted by UVic’s Libraries and Equity & Human Rights, from 4:30-6pm on Thursday, March 8 in Libraries room 129. And will any of our short films about creative practice in Fine Arts make the final cut of the second annual Research Reels contest? To find out, you’ll have to drop by the screening event running from 5-6:30pm Tuesday, March 6, in the David Lam Auditorium, room A144 of the MacLaurin Building.
UVic’s annual Alumni Week is back, and Fine Arts is well-represented in the various events happening across campus and around the city from February 1-7. 2018 marks the 11th annual celebration highlighting the achievements and impact of our alumni, and offers everyone — current students, faculty and alumni alike — the opportunity to show our UVic pride and celebrate UVic grads in communities all over the world.
While there are over 15 events and activities happening over the week, we’re only going to highlight those involving Fine Arts alumni. And be sure to check out the Flashback Foto Contest, where you can submit photos of yourself from your UVic days and enter to win prizes.
AHVS grad student & exhibit curator Nellie Lamb
At 3pm on Saturday, February 3, Art HIstory & Visual Studies alumna and current AHVS graduate student Nellie Lamb will be hosting a special curator’s tour of her current exhibit, Innocence: West Coast Art & Artists Through a Visitor’s Eyes at UVic’s Legacy Art Gallery Downtown. A fascinating look at west coast creativity in the early 1960s, Innocence pairs original works from UVic’s Art Collection with a 1963 NFB documentary.
“Sometimes seeing something we are familiar with through another’s eyes reminds us how incredible that thing is,” she explains. “I hope visitors leave the gallery with a feeling of wonder about the place that we live, and the artists who have worked here for thousands of years and continue to . . . . that’s the feeling in [both the film] and the artworks in this exhibition give me.” You can read more about Lamb’s Innocence exhibit here.
The main event of the week, the gala Distinguished Alumni Awards Night, begins at 7:30pm Monday, February 5, at the Songhees Wellness Centre. All are welcome to attend this free event and see 12 distinguished alumni honoured, and hear what they have to say about how UVic has made — and continues to make — a difference in their lives, and the greater communities around us. Among the recipients are the Faculty of Fine Arts DAA recipients, Carli and Julie Kennedy — School of Music alumni who, under the stage name Twin Kennedy, have been shaking up the world of country & roots music from their new base in Nashville.
“There’s a lot of people in Nashville who can’t do what we can, because they never went to school,” says Carli. “We’re so grateful to have had the time to study and learn before we got out there.” Read more about Carli & Julie in this exclusive interview.
Celebrated Writing alumnus Daniel Sieberg will be In Conversation with UVic Chancellor Shelagh Rogers starting at 7pm on Tuesday, February 6, at First Metropolitan United Church. Not only is Sieberg a graduate of the Writing department but he’s an Emmy-nominated and award-winning TV correspondent/host and the author of The Digital Diet, as well as a former Google executive and the co-founder of Civil.
The big event on Wednesday, February 7, is the special free concert by Twin Kennedy starting at 8pm at Felicita’s Campus Pub. Enjoy a rare intimate and acoustic local performance by these Canadiana stars, who are a little bit country and a little bit classical. With a steadily growing amount of industry recognition — including multiple nominations from the Canadian Country Music Association (three) and the BC Country Music Association (12) — Twin Kennedy have also already won two John Lennon Songwriting awards for their song “Secondhand Gold,” which picked up the Grand Prize (Country) in 2015 and Best Country Song in 2016, as well as a pair of Vancouver Island Music Awards (Country Album of the Year).
Also running all week (and through to March 29, actually) is the exhibit Distinctly Canadian: The Malahat Review’s Relationship with the Visual Arts at the Legacy Maltwood Gallery in the McPherson Library – Mearns Centre for Learning. Curated by AHVS alumna Caroline Riedel, this exhibition pays tribute to the role of art in The Malahat Review — one of Canada’s most iconic and long-standing literary journals.
In its50-year run, its pages have featured the work of established writers, emerging talent and critical essays on both literature and the visual arts. The synergy between art and literature is particularly evident in the cover art and essays of the journal’s first decade, which presented new work by internationally acclaimed artists such as Henry Moore, Barbara Hepworth, Andy Warhol, and Roy Lichtenstein. Featured artists in this exhibit include Maxwell Bates, Robert De Castro, Glenn Howarth, P.K. Irwin, Davidee Kavik, Jack Kidder, Tony Hunt Sr., Elza Mayhew, Eric Metcalfe, Myfanwy Pavelic, Margaret Peterson, Bill Reid, and Gordon A. Smith.
For a complete listing of Alumni Week events please visit our Attend an Event page for more details. If you have any questions please contact Alumni Relations at 250-721-6000 or email@example.com.
In 1963, National Film Board director Léonard Forest travelled from Montreal to the west coast to direct a documentary about artists and poets working in Vancouver and Victoria. Forest said he came here with “zero idea” of what he would find. He made the resulting 27-minute film, In Search of Innocence, with an innocent eye.
AHVS grad student & exhibit curator Nellie Lamb
Now, the latest Legacy Gallery exhibit, Innocence: West Coast Art and Artists Through a Visitor’s Eyes pairs the original NFB documentary with work by artists featured in the film — but guest curator Nellie Lamb also examines the notion of innocence as it pertains to the West Coast in the 1960s.
Lamb, a graduate student with the Art History & Visual Studies department, selected work by the likes of Jack Shadbolt, Margaret Peterson, Roy Kiyooka, bill bissett, Joy Long, Sing Lim, Jack Hardman, and former UVic Visual Arts professors Fred Douglas and Donald Jarvis for the exhibit.
Curious to learn more? Lamb will be giving a special curator’s talk and tour from 3-4:30pm Saturday, February 3.
Lamb says she first saw the NFB film back in 2013, when her mother gave her a copy for Christmas. “My dad, Fred Douglas, appears in it,” she explains. “He passed away when I was 12 so I’ve been getting to know him as an adult through documents like this, and through his friends, co-workers and students.”
Some of Fred Douglas’ original manuscript pages appear in the exhibit
Douglas was a noted Vancouver artist who eventually joined UVic’s Visual Arts department as a professor.
She calls it a “happy accident” that UVic’s impressive art collection holds pieces by some of the artists in the film; the exhibit also features some pieces on loan from UBC, SFU, and the AGGV. “That’s one of the fun things I’ve found about researching local artists, often their work is right here where we can see it up close.”
Lamb says she tried to select works that were created close to the time In Search of Innocence was shot. “Margaret Peterson’s ‘Horos, The Welcome Figure’ (1962) was actually in her solo exhibit at AGGV, which is shown in part in In Search of Innocence,” she explains. “ ’Horos’ also relates to the idea of the West Coast as a place that is — at least in some imaginations — ‘natural’ and ‘mystical.’”
A more innocent time?
Was there actually a sense of innocence among west coast artists of the 1960s? “I think Forest’s use of the term ‘innocence’ is much more nuanced and nebulous than what we typically use the word to mean,” Lamb explains.
“Part of my research is about teasing apart what he might have meant and I think what he meant has many facets, depending on which artist he was looking at. For example, Jack Shadbolt’s search for innocence was different from Al Neil’s. Forest features a diverse group in his film . . . [but] the artists in In Search of Innocence wouldn’t have called themselves innocent.”
Yet Lamb does acknowledge that “the west” has long been seen as a place of opportunity, and that “unrealized opportunity” itself is a type of innocence. Add that to the continued perception that the West Coast is distant from the art-world centers (Europe, New York, Montreal, Toronto), and that West Coast cities like LA and Vancouver are “culturally devoid” compared to their eastern equivalents.
“Of course, anyone involved in the arts communities out here knows that’s untrue,” insists Lamb. “But being removed from these major art centers, and choosing to remain physically and sometimes ideologically marginal, can be seen as an innocent choice or, a search for innocence.”
The researcher as audience & curtor
As an AHVS grad student, Lamb says her Legacy exhibit is just one part of a larger research project focusing on documentary film theory, building a history of Vancouver and the West Coast in the 1960s, and considering her own role as audience and curator.
“Sometimes seeing something we are familiar with through another’s eyes reminds us how incredible that thing is,” she explains. “I hope visitors leave the gallery with a feeling of wonder about the place that we live, and the artists who have worked here for thousands of years and continue to . . . . that’s the feeling in [both the film] and the artworks in this exhibition give me.”
“Innocence” at Legacy Gallery Downtown
Originally from Vancouver, Lamb chose UVic for both her undergraduate degree and her graduate work. “I’m from Vancouver and I had originally planned on moving back there after graduating with my BA . . . . [but] I’ve found that both the AHVS department and Victoria’s art community are overflowing with opportunities for students to put their research and related skills into practice.”
Despite the 55-year gap between the NFB documentary and now, when urban growth and development have radically changed both the physical and cultural landscape, Lamb feels some things do remain recognizable.
“I bounce back and forth between lamenting how much has changed — how much has been lost to development and rising cost of living — and then noticing how much is the same,” she says. “The land is still awe-inspiring, there are still diverse and interconnected communities of artists working in just as diverse media, and some of them are still searching for the same ineffable thing that Forest called innocence.”
Innocence: West Coast Art and Artists Through a Visitor’s Eyes runs to March 29 at UVic’s Legacy Downtown, 630 Yates (open Wed-Sat, 10-4pm).
It’s said nothing succeeds like success, which is an aphorism well-appreciated in the offices of The Malahat Review. Currently celebrating both its 50th anniversary and 200th issue, UVic’s venerable and revered literary journal has served as a springboard for some of the most recognizable names in Canadian publishing over its lifetime.
Writing grad & outgoing Malahat Review editor John Barton (UVic Photo Services)
For instance, the Malahat was the first magazine to publish a short story by Yann Martel — 14 years before he went on to win the Booker Prize for the international bestseller Life of Pi. In 1977, the journal dedicated an entire issue to Margaret Atwood’s work, before she became internationally known. Poets such as Michael Ondaatje, Dionne Brand, Patricia Young and beloved Department of Writing professor Lorna Crozier have frequently graced its pages.
“Publishing in The Malahat is a rite of passage for many writers, who feel that they have ‘arrived,’” says outgoing editor, poet and Writing alumnus John Barton, who has nurtured the journal for more than a decade. “Writers who have won our contests have gone on to win National Magazine Awards, the Journey Prize and to get book contracts.”
Hear Barton discuss the Malahat legacy on this January 9 CFAX Radio interview, or in this January 4 Times Colonist article. He was also interviewed on CBC Radio’s All Points West recently (link not available).
One of the world’s best literary mags, right here at UVic
Established in 1967 by fabled Writing professor Robin Skelton and English professor John Peter, The Malahat Review has showcased works by established writers, discovered promising new talent and presented perceptive critical comment on other pieces including essays on both literature and the visual arts.
“Without The Malahat Review, I wouldn’t be the writer I am now,” admits Martel, whose short story “Mister Ali and the Barrelmaker” was published in 1988. The journal has won more National Magazine Awards than any other literary journal in the country and has had six editors over its lifetime, including Writing professor emeritus Derk Wynand, Constance Rooke, Marlene Cookshaw, Barton, and Skelton and Peter.
“The magazine has been an inspiration to generations of writers and students at UVic, in Victoria and across the country — as a place to read some of the best writing from around the world and as a high-profile publication to dream of seeing your own work in one day,” says Writing chair and alumna David Leach. “As a student at UVic, I remember reading one of Yann Martel’s early stories in the Malahat and being blown away by its originality . . . . To have one of the best literary magazines in the world located right here on campus has helped to establish UVic and Victoria as important centres of Canadian literary culture.”
And while the Malahat may have gotten its start back in the days when Writing was part of UVic’s Faculty of Humanities, it has long ties to us here in Fine Arts. “The Malahat Review has a long history with the Faculty of Fine Arts that spans decades,” says Dean Susan Lewis.
“Colleagues in the Department of Writing play key roles on editorial and advisory boards, and our students have learned about the literary publishing industry through the Department of Writing Internship program, established in 2004. The Malahat’s status as one of Canada’s leading literary journals makes it a desirable place for our faculty to publish. The journal enjoys an impressive list of accolades — including 12 times as either winner or finalist of the Western Magazine Award’s ‘Magazine of the Year’ and 14 Malahat authors in the National Magazine Foundation’s roster of finalists, with five gold and four silver awards.”
It’s already been a busy anniversary for the Malahat, given last November’s 200th issue launch party, which paid tribute to the Victoria literary scene and artists — past, present and future — with two previously unpublished poems from the late P.K. Page and creative nonfiction from painter Emily Carr. The issue also offers work by Writing professors (current and past), including Tim Lilburn, Patrick Lane, Lorna Croizer, Shane Book and Patrick Friesen, plus alumni Kyeren Regehr, Danielle Janess, Leah Callen, Philip Kevin Paul, Arlene Pare, Jason Jobin and Annabel Howard, as well as former Writing instructors like Madeline Sonik and Alisa Gordaneer.
200 issues, one fantastic special edition
To better mark the occasion, UVic Libraries is releasing a limited-edition monograph on January 25, edited by Barton: The Malahat Review at Fifty: Canada’s Iconic Literary Magazine is richly illustrated with archival material from UVic Special Collections and University Archives. Contributing authors include broadcaster and UVic Chancellor Shelagh Rogers, as well as Martel, Paul, Wynand, Young, Eve Joseph, Jay Ruzesky, Nicholas Bradley, Heather Dean, Jonathan Bengtson, Jan Zwicky and rising alumna literary star Eliza Robertson, among others.
“The Malahat Review at Fifty features extraordinary stories and memoirs from a range of celebrated contributors, recognizing the vital culture impact of The Malahat Review on the Canadian and international literary scene,” says UVic librarian and local poet Christine Walde, who, as general editor of the series, led the commemorative project.
There will also be a special art exhibition, Landmarks: The Art of The Malahat Review. Curated by Caroline Riedel of UVic Legacy Art Galleries, Landmarks opens January 25 in UVic’s Legacy Maltwood gallery, located in the lower level of the UVic library. Running until May 13, it highlights the role of art in the journal and includes 200 selected cover images. Canadian artists have dominated the visual identity of The Malahat Review and the synergy between art and literature is particularly evident in the cover art and essays of the journal’s first decade, which featured new work by internationally acclaimed artists such as Henry Moore, Andy Warhol, Mel Ramos and Joan Miró.
Indeed, it would be hard to beat Dean Susan Lewis for a more simple, heartfelt acknowledgement of the magazine’s accomplishments. “My congratulations to The Malahat Review on its 50th anniversary and best wishes for continued excellence in the decades to come.”
Victoria Wyatt (right) with AHVS undergrad Baylee Woodley in the new art collections classroom
From large lectures and working with TAs to a lack of one-on-one time with professors, there’s no question first-year classes can seem overwhelming to students. But the Department of Art History & Visual Studies is looking to broaden first-year opportunities with both a new classroom and a new class concept: AHVS 101 — a seminar focusing on art, images and experience — launches this month and will be anchored in the department’s new art collections classroom.
“The idea is to create a context in which students transitioning to the university can have an experiential education by interacting with the instructor and their peers in a small group,” explains AHVS professor and course creator Victoria Wyatt. “My job is to create an environment that encourages them to engage actively.”
Pull-out racks will allow for easy display and storage of art
Created with release time made possible by UVic’s Division of Learning and Teaching Support and Innovation and her department, AHVS 101 is open to just 20 students from any faculty and is already proving popular: the debut semester filled up fast, and has a healthy waiting list.
Wyatt notes that first-year students are hoping for something beyond the traditional “sage on the stage” model, where they sit passively while taking lecture notes. “They used to rely on the instructor as a source of information . . . now they look it up on their smartphones,” she says. “Rather than receiving information from an authority, they want to play an active role in navigating that information, actively discussing it. My goal is to give them some tools that will be transferable to whatever discipline they end up majoring in.”
Conceptually, AHVS 101 not only reflects changes in the K-12 education model but also provided the opportunity to create a new learning environment. Featuring purpose-built display and storage cabinets, pull-out painting racks and hanging wall, a dedicated print cabinet and rolling furniture for a flexible learning environment, the art collections classroom will allow students to engage with the paintings, prints, sculptures, and other objects in UVic’s 19,000-plus Art Collection in an entirely new way.
Rolling furniture allows for easy space reconfiguration
“As one of the leading world art history departments in the country, the new classroom gives our students the opportunity to work directly with the UVic Art Collection,” says AHVS chair Erin Campbell. “[Wyatt’s new class] was designed with the room in mind, and I believe it will be the first small-numbers, seminar-style class to be offered to first-year UVic students.”
As well as other AHVS courses, the new room will also be used for the department’s new Museum Studies minor, Fine Arts classes, and by Legacy Gallery’s art educator. “The classroom will also provide an inviting space for community members to work alongside AHVS faculty members and students with artworks from our collections,” notes Campbell.
Until now, art works had to be transferred back and forth between campus and either downtown’s Legacy Gallery or the storage facility at Queenswood, which is risky and expensive; now, work can simply be left in the room, safely stored and ready to be used. “Because we have to be really careful of security and conservation requirements, this creates an opportunity to make better use of the Legacy art collection and to have students engage with artworks much more intimately,” says Wyatt.
She also feels increased visual literacy is essential for first-year students given the diverse contexts in which we encounter art and images today. “I’d like them to gain experience in how to think about and manipulate visual images in different contexts so they develop greater acumen in looking at websites. How would they use the artwork if they’re a curator at a gallery, for example, or using it as a background in retail, or putting a banner photo on a website or a thumbnail on social media? How would they photograph it? What would they say about it?”
The art collections classroom is one of two new spaces unique to the department and UVic: also new this year is the Fine Arts interactive media lab, designed to support the growing strength of AHVS’s Visual Studies stream.
Cubbies will keep the space tidy & keep personal items away from objects
Wyatt, the 2017 recipient of the Fine Arts Award for Teaching Excellence, feels the new course is a perfect fit both for students and herself.
“This actually links into my research about relationships between Indigenous ways of knowing and paradigm shifts in western science, because it’s about non-linear thinking, how everything connects . . . . it’s about encouraging students to develop ideas of what they need to think about as they navigate complex, dynamic systems. The Internet is a complex, dynamic system, so is global warming . . . everything we need to engage with in a really serious way is a complex, dynamic system. I want to expose students to that way of thinking and hopefully it will help them as they move through university.”
Interested in finding out more? An open house of these new interactive learning spaces will be part of UVic’s Ideafest in March.
What else happened in Fine Arts in 2017? More than we can mention in one blog post, so here’s part two of our top-10 stories of the year.
Considering we’re based on an island at the edge of the continent, it’s surprising how much international attention UVic continues to get — and while there’s no arguing our extraordinary sense of place here in Victoria, credit must go to our exceptional faculty who always seem to be busy across the country and around the world.
Ajtony Csaba at the Hungarian Liszt Academy of Music (photo: Réka Érdi-Harmos)
School of Music professor Dániel Péter Biró and some Music students participated in UVic’s interdisciplinary field school “Narratives of Memory, Migration, and Xenophobia” this summer, which brought together scholars, students and artists from Canada and Europe to examine issues including the recent resurgence of nationalist and xenophobic movements in North America and Europe. Biró also had a number of compositions commissioned, premiered and performed in Europe this year, as well as in Brooklyn. Ajtony Csaba was honoured to perform a special Canada 150 concert for the Hungarian Ambassador in Ottawa this summer, as well as having the opportunity to lead the orchestra at the Hungarian Liszt Academy of Music this fall. Merrie Klazek presented a solo recital at the International Women’s Brass Conference in New Jersey in June, Joanna Hood was featured on German radio this fall, and Benjamin Butterfield appeared once again at the Amalfi Coast Music Arts and Music Festival, teaching and directing the opera Gianni Schicchi with some of his UVic voice students, past and present (including Kaden Forsberg, Margaret Lingas, Ai Horton and Nick Allen).
Visual Arts professor Kelly Richardson saw her art exhibited in solo and group exhibits in Scotland, England, France, China and the United States this year, while Paul Walde had two separate exhibits on view in Norway and Scotland, and Cedric Bomford had work in California, as well as an ongoing public art commission in Seattle. And sessional instructor Charles Campbell had work exhibited at both the Los Angeles’ Museum of Latin American Art and San Francisco’s Museum of the African Diaspora this year.
Finally, Theatre professor Patrick Du Wors was the only Canadian selected for the prestigious 2017 World Stage Design exhibition in Taiwan, and Art History & Visual Studies professor Marcus Milwright published a new book, Islamic Arts and Crafts: An Anthology with Edinburgh University Press.
Lindsay Delaronde supported by dancers during ACHoRd (Photo: Peruzzo)
Considering the City of Victoria declared 2017 a Year of Reconciliation, it was perhaps fitting that we saw a great deal of activity by Indigenous alumni, guest speakers and faculty — most notable of which was the announcement that Visual Arts MFA alumna Lindsay Delaronde would be Victoria’s first Indigenous Artist in Residence. “I hope to create artworks that reflect the values of this land, which are cultivated and nurtured by the Indigenous peoples of this territory,” she said at the time. “I see my role as a way to bring awareness to and acknowledge that reconciliation between Indigenous and non-Indigenous peoples is a process, one in which I can facilitate a collaborative approach for creating strong relationships to produce co-created art projects in Victoria.”
2017 also saw the completion of Rande Cook’s two-year term as the latest Audain Professor in Visual Arts — on top of his duties as chief of Vancouver Island’s ’Namgis Nation and his commitments as an in-demand contemporary artist with an international practice. “Two years in the position allowed me to really reach students,” says Cook. “I was able to delve into the role art plays in politics, and got them to dive deep within themselves. I pushed my students a lot and they seemed to appreciate that — the feedback at the end of the year said it was one of the more profound classes they had ever taken.”
The call is currently out for the next Audain Professor, with a January 31 application deadline.
Theatre professor Kirsten Sedeghi-Yetka continues her applied theatre work in the area of Indigenous language preservation, and Theatre also hosted acclaimed Indigenous playwright Marie Clement as a guest this fall. AHVS professor Carolyn Butler-Palmer‘s 2017 Legacy Gallery exhibit on early female Indigenous carver Ellen Neel was featured in this national Globe and Mail article, Legacy Gallery also hosted an exhibit by Visual Arts MFA alumna Marianne Nicholson focusing on the impact of smallpox on local first nations, and fellow Visual Arts MFA Hjalmer Wenstob had a high-profile longhouse installation on the lawn of the BC Legislature this summer as part of the OneWave Gathering.
High-profile Indigenous Writing alumni Richard Van Camp and Eden Robinson were in the news repeatedly this year, with Robinson being shortlisted for the Giller Prize and winning a prestigious Writers’ Trust Fellowship. And everyone in Writing and Fine Arts were saddened to hear of the passing of former Southam Lecturere, Richard Wagamese.
Daniel Laskarin with his new public art sculpture, now installed in Richmond
Art with impact
Visual Arts faculty had a busy year with a number of prominent exhibitions and projects. Paul Walde’s Tom Thomson Centennial Swim project received a great deal of local, provincial and national media attention this summer — with 10 different radio interviews and day-of coverage by the Toronto Star — as well as making UVic’s list of top news stories of 2017.
The spotlight was definitely on the recently retired Sandra Meigs — now professor emeritus — who was named a Fellow of the Royal Society of Canada in September, opened a solo exhibit at Winchester Galleries early in 2017 featuring work created after winning the Gershon Iskowitz Prize, and launched an impressive solo show at the Art Gallery of Ontario in October, in collaboration with Music’s Christopher Butterfield. Listen to this interview with Meigs on CBC Radio’s Q, in which Butterfield’s audio component is also discussed.
Daniel Laskarin debuted a new public art sculpture at the Cambie Fire Hall No. 3 / Richmond North Ambulance Station and had a local solo show at Deluge Gallery, while Robert Youds had no less than three solo exhibits this fall, with two in Victoria and one in Toronto. Cedric Bomford had his work on view in California, Quebec and Toronto’s Nuit Blanche this summer, and very busy new professor Kelly Richardson participated in 14 solo and group exhibitions across Canada and Europe — with more planned in 2018.
10 years of acclaimed journalists
The stage may have been crowded, but not as much as the audience!
For the past 10 years, Writing students have benefited by learning from veteran journalists and authors, thanks to the Harvey Stevenson Southam Lecturer in Journalism and Nonfiction. In November, Writing celebrated a decade of Southam Lecturers with a special “all-star” anniversary panel featuring six former Southams together for the first time, in a lively moderated discussion on “The Future of Journalism in the Age of #FakeNews”
“The idea for the panel was sparked by a perfect convergence,” says Writing chair David Leach. “A chance to mark the 10th anniversary of the Southam Lectureship, the opportunity to thank the Southam family for their generosity, and to respond to a sense of global urgency around the role of journalists as guardians of our democratic institutions — especially when the most powerful elected official on the planet keeps attacking the free press as #FakeNews.”
Leach acted as emcee and moderator for the event, which broke all previous Southam attendance records and saw close to 250 fill every seat, aisle, ledge and doorway. six returning Southams — Jody Paterson, Terry Glavin, JoAnn Roberts and Tom Hawthorn, plus departmental alumni Mark Leiren-Young and Vivian Smith — as well as recent Writing grad Quinn MacDonald, now the publisher/editor of the local urban agriculture magazine Concrete Garden.
“All were keen to talk about their experiences as guest lecturers and debate the future of journalism,” says Leach. “Taken together, it offers a broad range of ways to look at contemporary journalism.”
A strong year for new donors
Samantha Krzywonos (far right) marks the
98th birthday of longtime donor Tommy Mayne, with three Theatre student recipients of his scholarship, in 2016
Another way to measure a faculty’s health and success is through the strength of its donors. And while Fine Arts couldn’t boast of another monumental donation like the one we received in 2016 from Jefferey Rubinoff — who sadly passed away earlier this year — 2017 remained a healthy year for donors and donations. Fine Arts Development Officer Samantha Krzywonos reports that we attracted 103 first-gift donors this past year — as compared to 48 in 2016 — and received an overall 476 donations for a total of nearly $500,000 that will support students.
Donations of all sizes are essential not only for scholarships and awards, but also for the need for innovative technology, space modifications and equipment upgrades — all of which contribute to the success of Fine Arts students in all our departments. Donors can range from alumni and retired faculty to parents of students, corporate partners, arts patrons, current and former staff, and community members. Indeed, we currently have over 250 active donors and nearly $10 million in planned gift expectancies invested in Fine Arts students.
Krzywonos feels meeting with donors is the most rewarding aspect of her job. “It’s all about saying thank-you and sharing the impact of that support. If a student can focus on their studies and not have to take on extra work just to get by, that donor support can make a huge difference in their life.”