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Bev Kallstrom

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Focus Magazine Nov/Dec 2016

Sept/Oct 2016.2

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  1. Bev Kallstrom
    A perennial favourite, the Sunday Lecture Series takes place over the course of four Sunday afternoons: March 6, 13, 21 and 27. Each illustrated lecture runs from 2:00 p.m. to 4:00 p.m. Pacific Time via Zoom. “It’s not over till it’s over” as the saying goes. Impressionism (ca. 1860-1886) and Post-Impressionism (ca. 1886-1920) are once again making headlines in the art world with exciting new exhibits and scholarship. The Sunday Art Lecture Series contributes to new ways of thinking about how this art movement began to reflect and frame modernity with four illustrated talks. The Sunday Lecture Series is a fundraiser for the AGGV by the Gallery Associates whose role is to volunteer, promote and support the AGGV through fundraising events and programs. Proceeds from the series go toward supporting Gallery exhibitions and programs. Tickets cost $75 for the series for Gallery members/students or $90 for non-members, each individual lecture, $25 for Gallery members/students; $30 for non-members and are available online at https://www.eventbrite.ca/e/sunday-art-lecture-series-2022-tickets-230508486087
  2. Bev Kallstrom
    until
    The final lecture by David Young. is called Shibusa Aesthetics: Spontaneity in Japanese Gardens. The goal of a traditional Japanese garden is to re-create nature on a small scale and in an artistic way that improves upon nature. Keeping in mind that the word “art” comes from the same word as “artificial,” how can something be natural and artificial at the same time? This interesting challenge was met in Japan with the concept of shibusa, which can be translated as “restrained spontaneity” or “spontaneity of effect.” Poster Art Lecture Series ~DD~8.5x11 2019Dec12.pdf
  3. Bev Kallstrom
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    Betsy Tumasonis will lecture on Niki de Saint Phalle’s “Giardino dei Tarocchi”: A French Artist and her Italian Sculpture Garden. Niki de Saint Phalle (1930 – 2002) was a French artist and sculptor who associated in the early 1960s with the French Nouveaux Realistes group. She experimented with assemblages made of bizarre collections of objects, evoking a Dadaist sense of the absurd. In 1980 she began work on her “Giardino dei Tarocchi” (Tarot Garden) in Tuscany. She filled the park-like property with enormous colourful otherworldly figures based on images from the Tarot deck (fortune-telling cards). A stroll through the garden is a magical experience. Poster Art Lecture Series ~DD~8.5x11 2019Dec12.pdf
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