southern alberta art gallery small.pdfin 2012 the southern alberta art gallery continued to exhibit...
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The SouThern AlberTA ArT GAllery foSTerS The
work of conTemporAry ArTiSTS who chAllenGe
boundArieS, encourAGeS broAd public enGAGemenT
And promoTeS AwAreneSS And explorATion of
ArTiSTic expreSSion. our work exTendS To locAl,
nATionAl And inTernATionAl communiTieS.
preSidenT’S reporT ...................... 2
execuTiVe direcTor’S reporT ...4
curATor’S reporT .........................8
exhibiTionS ....................................... 13
publicATionS ..................................26
deVelopmenT ................................ 28
liST of donorS ............................. 30
VolunTeerS .................................... 32
communiTy enGAGemenT ........34
TreASurer’S reporT ..................42
AudiTor’S reporT ........................43
finAnciAl STATemenTS .............44
Images: (cover & inside cover) Eleanor King, Stacks, 2012. Photos by David M.C. Miller and Petra Mala Miller.
2 0 1 2 A n n u A l r e p o r T 1
2012 was a year of celebration,
growth and development at the
Southern Alberta Art Gallery.
The year saw us mark the 35th
anniversary of Art’s Alive and Well in the Schools,
the 20th anniversary of the Art Auction and the
10th anniversary of House Tours & Tea. Attendance
at these events, as well as our exhibition openings
make it clear that SAAG is a central gathering space
for our local community. In 2012 our exhibition
openings attracted an average of 200 attendees,
our yearly visitors topped 20,000, and our core
fundraising events were sold out.
In 2012 the Board accepted the 2012 – 2014 Strategic
Plan as developed by SAAG management and staff.
We continue to focus on meeting the goals outlined
by our mandate, as demonstrated by the high
quality of our curated exhibitions, publications, and
programming, as well as the continued generosity
of our individual and corporate donors. SAAG staff
have expanded their roles with Christina Cuthbertson
taking on the position of Assistant Curator and
Danielle Tait becoming the Director of Development &
Communications. At the Board level a comprehensive
review of board governance was undertaken with the
assistance of Deloitte with a view to implementing
professional practices and procedures.
2013 will mark Executive Director Marilyn Smith’s
final year with the gallery. On behalf of the Board
of Directors I would like to thank Marilyn for her
commitment to SAAG and wish her all the best
in her retirement. Marilyn has played a pivotal
role in the growth and development of SAAG. Her
legacy is the gallery’s strong business foundation,
developed through initiatives which included the
gallery branding project, strategic planning, and
creation of the fund development position to name
a few. Under her guidance SAAG has expanded its
audience, sponsorships, and reputation. Marilyn has
been a tireless champion of the gallery, advocating
to ensure that SAAG receives the recognition and
resources it deserves. She has also been a mentor
2 1 S O U T H E R N A L B E R T A A R T G A L L E R Y A N N U A L R E P O R T 2 0 1 2
on behAlf of The boArd
of direcTorS i would like
To ThAnk mArilyn for her
commiTmenT To SAAG And
wiSh her All The beST in
her reTiremenT.
2 S o u T h e r n A l b e r T A A r T G A l l e r y
to the gallery staff, helping them to develop their skills
and achieve their professional development goals. This
has allowed the Board to endorse a succession plan
which will see Ryan Doherty and Danielle Tait assume
the roles of Director/Curator and Associate Director
upon Marilyn’s retirement. Ryan’s curatorial skill, the
respect he has earned in the field of contemporary art,
and his demonstrated commitment to SAAG’s mandate
make him amply qualified to take on the position
of Director/Curator. As Director of Development &
Communications, Danielle has demonstrated her ability
to expand the gallery’s fundraising opportunities and to
secure generous new funding from both corporate and
individual donors. The Board of Directors is confident
that under their guidance the Southern Alberta Art
Gallery is well positioned to meet and exceed the goals
set out in the strategic plan.
It has been an honour for me to have been a member
of the Board of Directors of the Southern Alberta Art
Gallery for the past 6 years and serve as President of
the Board. I would like to thank Marilyn, the staff, and
my fellow board members for their commitment and
dedication to SAAG and I look forward to watching the
gallery grow and develop in the years to come.
Johnna Kubik
President
boArd of direcTorSPresident – Johnna KubikVice President – David Cocks Treasurer – Colin MillerAndrea AmelinckxCatharine BrooksCarla FerrariLeiflynn MundLyn PatersonRyan Stevenson
STAffExecutive Director – Marilyn Smith Curator – Ryan Doherty Assistant Curator – Christina CuthbertsonDirector of Development & Communications – Danielle TaitVisitor Services Manager – Naomi Sato Gallery Educator – Paige Rosner, Cristie Gray (term)Online Marketing Manager – Rod Leland (term)Weekend Attendant – Kasia Sosnowski Librarian – Elspeth NicklePart-time Support Staff – Mandy Espezel, Shannell Papp, David SmithSummer Support Staff – Katie Wallace & Myles Havinga Public Programming & Education Manager – Jennifer Prosser (to May 31)Exhibition & Event Manager – Tyler Stewart (to July 6)Curator Emerita – Joan Stebbins
Images: (left to right) An external shot of the Southern Alberta Art Gallery. Photo by Jaime Vedres Photography. | SAAG Staff: Top (L to R): Kasia Sosnowski, Marilyn Smith, Paige Rosner, Ryan Doherty, Christina Cuthbertson, Naomi Sato. Bottom (L to R): Jess Fehr, Danielle Tait. Photo by Rod Leland Photography.
2 0 1 2 A n n u A l r e p o r T 3
2 1 S O U T H E R N A L B E R T A A R T G A L L E R Y A N N U A L R E P O R T 2 0 1 2
In 2012 the Southern Alberta Art
Gallery continued to exhibit some of
the leading artists and work of our
time, artists who push boundaries
and push experience. Utilising a
range of media from video and installation to painting
and photography, artists explored themes as diverse
as family, fantasy, environment, history, politics
and more. At the Southern Alberta Art Gallery you’ll
discover that your interior landscape stretches as far
& wide as our Alberta skies.
In March Prefix Photo held the launch of their 24th
issue at SAAG. The issue, which highlighted current
photography practices on the prairies, featured the
work of Lethbridge artist Don Gill. In September,
Canadian Art magazine launched their Fall Issue
here as part of our Art Days celebrations. One of
the gallery’s goals is to foster a community of art
writers and to that end we invited Canadian Art
Editor Richard Rhodes to conduct our first Writer’s
Workshop. Eighteen participants spent the day with
Rhodes who discussed the elements of writing a
4 S o u T h e r n A l b e r T A A r T G A l l e r y
review and the process to get your writing published.
This January we will announce the winner of the
SAAG’s first writing contest who will receive a week
in residency at The Banff Centre.
The Southern Alberta Art Gallery is a bridge between
artists and audiences, a container to access and
experience ideas. Education is key to building
this bridge and Articulations: Art Appreciation
Lecture Series is an important component of our
programming. This fall, art historian and University
of Lethbridge professor, Dr. Leslie Dawn led a rapt
audience through a 9-session series devoted to
presenting the principals and practices, as well as
the pleasures and problems of the visual arts from
1800 to 1970.
Images: (left to right) Executive Director Marilyn Smith addresses the crowd at the opening reception of Jon Sasaki’s Good Intentions and Dominique Rey’s Erlking. | Welcoming guests from Prefix Photo Magazine for the launch of their 24th issue. Photos by Rod Leland Photography.
2 0 1 2 A n n u A l r e p o r T 5
We provide experiences that enhance the quality
of lives. As a case in point, our Art & Culture Tours
offer first hand encounters with some of the western
world’s most iconic artworks. The site for our 3rd
Art & Culture Tour was Chicago where we spent a
week exploring the riches of art and architecture
the other Windy City has to offer. We look forward
to traveling to Venice in June to see the Venice
Biennale and Canada’s presenting artist, SAAG
Alumna Shary Boyle.
2012 was a year of anniversaries and milestones.
One of the highlights was the 35th anniversary of
Art’s Alive and Well in the Schools. The hundreds of
young artists present, together with their sisters and
brothers, parents, grandparents, aunts and uncles,
took part in some family art-making projects and had
their pictures taken in the Mother’s Day photo booth.
Our two major fundraising events, the House Tours
and Tea and the Art Auction both reached significant
milestones. The sold-out 10th annual House Tours
enjoyed one of southern Alberta’s spectacular sun-
filled summer days, without the other trademark of
this area – the wind! The Art Auction experienced
a capacity crowd and the art on the block reached
some of the highest prices we have seen to date.
Both events attracted record sponsorships and
attendance. For 20 years auctioneer Doug Levis of
Calgary’s Levis Fine Art Auctions has donated his
time and expertise to the gallery. We were pleased to
recognize his contribution at the event.
In anticipation of the Auction anniversary we
decided to explore the impact it has had in our
community and asked local collectors if we could
exhibit some of the work they had acquired over
the years in Another Look: Twenty Years of the Art
Auction. It was a humbling experience as we visited
homes and offices to select work for the show and
saw how profoundly the Auction affected people
in their everyday lives. Over its 20-year history
the Auction has influenced the experience and
awareness of contemporary art throughout our
community. We are grateful to the artists who have
been so generous in their support of this event.
The SAAG continues to seek ways to diversify our
revenue and broaden our audience. To that end we
introduced a new fundraiser this year. The Craft
Beer Festival was a resounding success, bringing
many new people to the gallery. Everyone left
looking forward to the next event in the coming fall.
We continue to diversify our revenues, in the past
fiscal year our earned revenue was in excess
of 40%, a percentage that would be the envy of
most galleries across the country. Funding from
public bodies remains strong and we were very
pleased to receive a more than 20% increase
from the Alberta Foundation for the Arts. This
is particularly rewarding as it reflects the hard
work of the SAAG staff and board in increasing
the gallery’s earned revenue and recognizes the
generosity of our community. That, together with
funding from the Canada Council for the Arts and
the City of Lethbridge, ensures that the gallery is
able to meet its mandate and obligations to our
audience at home. While our profile nationally and
internationally continues to grow, our attendance
exceeded 20,000 in 2012 and according to the
City of Lethbridge’s recent Recreation and Culture
Master Plan, SAAG is one of the most attended of
any of the City’s arts venues.
while our profile nATionAlly
And inTernATionAlly
conTinueS To Grow, our
ATTendAnce exceeded 20,000
in 2012 And AccordinG To The
ciTy of leThbridGe’S recenT
recreATion And culTure
mASTer plAn, SAAG iS one of
The moST ATTended of Any of
The ciTy’S ArTS VenueS.
6 S o u T h e r n A l b e r T A A r T G A l l e r y
In the last few years SAAG has attracted
sponsorships from some of Canada’s national
corporations. TD Canada Trust, Sun Life Financial,
Pratt & Whitney Canada each generously support
our education programs. This fall the RBC
Foundation announced a major contribution toward
the production of a catalogue on the work of Jason
de Haan, a runner-up for the 2012 Sobey Art Award.
De Haan was nominated to represent the Prairies
and the North by SAAG Curator and Sobey jurist
Ryan Doherty. Doherty was invited to participate
in this role for the second time as part of the 10th
anniversary of Canada’s largest art award for artists
under 40. SAAG artist alumna Raphaëlle de Groot is
the 2012 winner; de Groot will return to SAAG in the
spring of 2014 with the continuously evolving project
that debuted here, The Burden of Objects.
2012 was packed with wonderful exhibitions, events
and programs and we look forward to more of the
same in the coming year. Thank you to the artists,
members, gallery goers, donors, and sponsors who
continue to show their love for SAAG.
I would like to take this opportunity to thank
the many people who have devoted their time
and expertise to make SAAG the outstanding
institution that it is. We owe a debt of gratitude
to the Board members who have offered their
guidance and commitment over the years. After
completing two full terms Board members Andrea
Amelinckx, Lyn Paterson, Treasurer Colin Miller
and President Johnna Kubik are stepping down.
Each has been devoted to furthering our interests
by their involvement on fundraising committees,
volunteering for events, offering professional
guidance and representing the gallery to the
community. I would particularly like to thank Johnna
Kubik for the tremendous support she has shown me
over the course of the past few years.
Each member of the SAAG staff contributes their
unique strengths and talents to the diverse array
of activities in which the gallery is engaged. From
exhibition and catalogue development, through
community relations, communications, fundraising,
education and more, the myriad of details requiring
the skills and commitment of this remarkable group
is evident. In renewing the gallery’s strategic plan
and measuring our many successes one can only
be amazed at the achievements of Team SAAG. The
Southern Alberta Art Gallery is a national model for
the excellent small gallery.
It is with a mixture of sadness and pride that I make
this submission, the last I contribute to an Annual
Report for the Southern Alberta Art Gallery, as I will
retire from my position in mid July. Building on the
vision of former Directors, Boards and staff, I am
proud to have contributed to the gallery’s legacy of
excellence in cultural programming, our devotion
to contemporary artists and their practice, and our
commitment to engaging the communities in which
we live and work. I have every faith that the SAAG
team lead by Ryan Doherty will take the gallery
forward with a continued dedication and enthusiasm
for realizing our mandate through creative and
innovative means that reflect the perspectives of the
world around us.
Marilyn Smith
Executive Director
i Am proud To hAVe
conTribuTed To The
GAllery’S leGAcy of
excellence in culTurAl
proGrAmminG, our deVoTion
To conTemporAry ArTiSTS
And Their prAcTice, And our
commiTmenT To enGAGinG
The communiTieS in which
we liVe And work.
2 0 1 2 A n n u A l r e p o r T 7
As the Southern Alberta Art
Gallery enters into its 37th year of
programming we take great pride
in the capacity of this organization
and its supporting communities to
continuously raise the bar. The diversity and rigor
of the exhibition programming is celebrated broadly
and is matched with educational initiatives and
community actions that extend our reach beyond
these walls – locally, nationally and internationally.
This could not have been accomplished without
the vision and foresight of this community and an
insistence upon developing and supporting a gallery
intended to foster the work of contemporary artists
who challenge boundaries, encourage broad public
engagement and promote awareness and exploration
of artistic expression.
The first exhibitions of 2012 – Dominique Rey’s
Erlking and Jon Sasaki’s Good Intentions – started
the year off with great acclaim. Rey is well known for
having been the Visual Arts Ambassador for Winnipeg
8 S o u T h e r n A l b e r T A A r T G A l l e r y
as the 2010 Cultural Capital of Canada and for her
celebrated practice as an artist and performer (Rey is
a co-founder of the Abzurds performance collective).
Exhibiting the work produced during her Masters
degree in Berlin, Erlking is a collection of photographs
and a video featuring Rey taking on a host of
personas from a masked temptress drawing you in,
to a wild-eyed, bearded man seemingly stuck in an
eternal performance of pratfalls. Absurd, grotesque,
titillating and beguiling, Rey’s expressions of selfhood
offer a compelling strategy for celebrating alterity
and serve as a metaphor of the vast continuum of
potentialities contained within each of us. A major
catalogue produced in collaboration with Gallery 1C03
at the University of Winnipeg serves as an exceptional
document of the exhibition and features essays by
National Gallery of Canada Curator, Josée Drouin-
Brisebois and Leon Bernard Johnson.
Images: (left to right) Kristan Horton, Richard Rhodes, Ryan Doherty, and Marilyn Smith at the reception of Horton’s One For Yourself. | Introducing artists Kristan Horton and Jason de Haan during the opening reception of their exhibitions. Photos by Jaime Vedres Photography.
2 0 1 2 A n n u A l r e p o r T 9
Whereas Rey’s performed characters considered a
very personal and introspective investigation of the
self, Jon Sasaki’s exhibition Good Intentions looked
more to the shared experiences and understanding
of humanity from a more generic position. In a short-
sleeved white shirt and black pants, Sasaki performs
mundane and often redundant tasks in the role of
the ‘everyman’. Utilizing video, objects, performance
and installation, Jon Sasaki’s work takes cynicism,
futility and tragedy as starting points, countering
the thematic heaviness with dry, comic delivery.
He investigates an eternal optimism that, while
endearing and charming, is filled with the trappings
of failure. Good Intentions was part of a nationally
touring exhibition with an extraordinary seven
venues coast-to-coast and included an exhibition
catalogue co-produced by SAAG, that accompanied
the show.
The notion of the persona found in Rey and Sasaki’s
work was the beginning of a larger curatorial
research project considering artists that used
themselves in their work often as a representational,
fictionalized or abstracted version of themselves.
In June SAAG launched two exhibitions, Milutin
Gubash’s Remote Viewing: True Stories and Marcus
Coates’ Stories from the Lower World which along
with the September opening of Kristan Horton’s One
For Yourself all looked intensively at their individual
practices and the thematic of personas. Moreover,
these artists used themselves to consider the idea
of performing roles – the every man, the family
man, the fall guy, the marginalized self, the shaman
and others. Following this same line of inquiry,
future exhibitions will add new dimensions to this
discourse suggesting aspects related to masculine
conventions and pop culture protagonists.
Thematic arcs in SAAG’s programming are often
driven by the specificities of a place – be it a
building, a community, or a region, which is further
enriched through its history, its publics, its politics
and more. The site specificity of our galleries is
often a driving factor in our curatorial program and
with two distinct spaces the exhibitions must be
developed with sensitivity. The main floor gallery is
our largest space, and with high ceilings, polished
concrete floors and almost uninterrupted walls, it
functions effectively as a ‘white cube’ environment
championed during the height of Modernism.
Large scale wall works, installations and video
projections are well-suited to this space as recent
exhibitions such as Charles Stankievech’s Over the
Rainbow, Under the Radar (March 2012), can attest.
This exhibition brought together two of his most
ambitious projects to date – Ghost Rockets World
Tour and DEW Project – displaying wall-sized, high
definition videos and an enormous glowing geodesic
dome. Audio components were equally bombastic
including radio transmissions of water flowing
under the Klondike River and rock songs such as
Pink Floyd’s Dark Side of the Moon thundering
through Marshall amps. Collapsing Cold War politics,
architecture and aesthetics with societal imaginings
of the barren tundra of the high arctic, Stankievech
contextualizes his work in the supposed neutrality of
the white cube while making the unassuming viewer
complicit in its very real implications.
Similarly geared toward a dialogue with the
architectural context of the main gallery space,
Lyla Rye’s exhibition Cyclorama (December 2012)
contained a series of ‘pop-up’ tarpaulin rooms
that draw upon notions of spatial memory and
the transitory nature of stage sets. At certain
ThemATic ArcS in SAAG’S
proGrAmminG Are ofTen
driVen by The SpecificiTieS
of A plAce – be iT A buildinG,
A communiTy, or A reGion,
which iS furTher enriched
ThrouGh iTS hiSTory,
iTS publicS, iTS poliTicS
And more.
10 S o u T h e r n A l b e r T A A r T G A l l e r y
points these rooms lead to video installations
deconstructing the cinematic space at play in
the films of Buster Keaton. In light of the current
re-emergence of 3D film and the integration
of video screens into architecture, Rye’s work
is a timely investigation, urging us to consider
our physical relationship to film and movement
through constructed space whether architectural
or imaginary. It should be noted that the tarpaulin
structures will call to mind the installation Swarm,
a recent architectural appendage to the gallery
created by Lancelot Coar last winter. Relationships
like this are frequently emphasized, encouraging our
visitors to consider an artist’s practice beyond just
a single work, juxtaposition or exhibition and make
connections to the other artworks and experiences.
The SAAG’s upper gallery demands a different
curatorial approach. The short walls, vaulted ceiling,
clerestory windows and warm wooden floors reveal
the gallery’s more historic character and provides a
layer of content that must be considered. Exhibitions
such as Chris Kline’s Bright Limits (March 2012)
or Jason de Haan’s Nowhere Bodily is Everywhere
Ghostly (Sept 2012) are distinctly suited to the
space. Kline’s quiet, subtle paintings often reveal the
stretcher upon which it was constructed appearing
through the translucent canvas like a shadow. The
paintings are immersed in the natural light of the
upper gallery, their tones discreetly shifting as the
day passes, while the stretcher bars are echoed in
the mullions of the windows. For Jason de Haan’s
exhibition, the sense of the past is palpable. His
work is one of mythologies, fantastic narratives and
faded memories and the history of the upper gallery
as a former library lends a haunting undertone to the
work. Moreover, de Haan’s interest in the collision
between natural and manmade systems is extended
by the view of the trees in Galt Gardens interrupted
by an actual Hawthorne tree de Haan installed
inside the space.
From the site specificity of our galleries, SAAG is
similarly invested in responding to and engaging with
the specificities of our local communities through
social, political, economic, or ecological lenses.
Opening in December, Eleanor King’s Stacks was
made on-site and in direct response to the aesthetic
and economic structures of agriculture in the region,
particularly the impact of irrigation and the complex
patterns apparent from an aerial perspective of
the cultivated land. King created an enormous
hand painted mural that spanned the walls of the
upper gallery featuring long rows of rectangles and
circles that shifted in size and orientation, flickering
through a paint palette that included Canadian Sky,
Fossil Grey and Fencepost. At the same time, King
referenced our province’s history with extraction and
our dependence on it to satisfy our consumer-driven
lifestyles with a sculpture comprised of speakers,
VCRs, amplifiers, record players and other electronic
detritus, now obsolete, amassed in the shape of 108
cubic foot ‘stack’ – the historic measurement for
units of coal.
SAAG is committed to working collaboratively with
other institutions and organizations. While easing
financial burdens by sharing expenses on exhibition
projects, these partnerships are yet another avenue
to share alternative perspectives, emerging talents
from other regions, and consider new models of
exhibition making. Instead of working to install
an exhibition originally devised in the context of
another institution, SAAG has recently explored
arrangements where each venue curates their own
version of the show, often drawing on different
works more suitable to that gallery. The resulting
projects are thus more architecturally and context
sensitive but also offer multiple perspectives
generating new responses and new conversations
around the work. Milutin Gubash’s exhibition Remote
Viewing: True Stories (June 2012) is an example of
this model with five separate venues considering the
last ten years of his work and each focusing on a
different aspect of his practice. For example, SAAG
examined his use of media and the sit-com format,
while Carleton University Art Gallery considered
his use of family members in his work. The list of
institutions we have worked with continues to grow
and recent partners include the Art Gallery of Nova
Scotia, the Kitchener-Waterloo Art Gallery, Rodman
Hall, Musée d’art de Joliette, Carleton University Art
2 0 1 2 A n n u A l r e p o r T 11
Gallery, Doris McCarthy Art Gallery, Kenderdine Art
Gallery, MacLaren Art Centre, Prairie Art Gallery,
Dunlap Art Gallery, Oakville Art Gallery, Gallery
1C03 (University of Winnipeg), Foreman Art Gallery
(Bishops University) and the Visual Art Centre of
Clarington among others. These relationships ensure
that SAAG is an integral player among Canada’s
leading art galleries.
One of the most important benefits of these multi-
institutional partnerships is the shared commitment
to producing publications – one of SAAG’s most
important avenues for providing exposure for
our exhibiting artists. Working with a host of
designers and in particular Dana Woodward, a local
professional who handles much of the gallery’s
design needs, SAAG consistently puts out artist
monographs, exhibition catalogues and artist
books of the highest caliber. Recently released
publications include Gareth Long’s Never Odd Or
Even, Dominique Rey’s Erlking/Pilgrims, and Kelly
Richardson’s The Last Frontier (the largest and
most ambitious book SAAG has done to date), an
innovative artist book by Charles Stankievech, and
comprehensive monograph on the work of Kristan
Horton. In addition we were very excited when
the RBC Foundation came forward to help SAAG
foster the work of Jason de Haan with a $20,000
contribution to the production of a monograph and
local awareness of his emerging practice.
The exhibitions on view at SAAG this last year
offered a wide range of experiences and were
intended to generate some new perspectives
through which to see the world and our place in it.
The research to develop these projects requires,
in part, opportunities to travel, network, conduct
studio visits, and visit galleries. In 2012, trips to
Toronto, New York, Halifax, Winnipeg, Calgary and
Edmonton were productive occasions to experience
in-person a broad spectrum of work being produced
regionally, nationally and internationally. One avenue
that proved to be an invaluable means for exposure
to art across the country was serving again as a
juror for the Sobey Art Award. With a long list of 25
artists who are to some extent the leading voices
of emerging contemporary art in Canada, I was
privileged to discuss their practices at length with
four distinguished curators: David Liss (Museum
of Contemporary Canadian Art), Bruce Grenville
(Vancouver Art Gallery), Louise Dery (University
of Quebec) and David Diviney (Art Gallery of Nova
Scotia). Happily, of the five shortlisted artists, four
are SAAG alums: Jason de Haan, Eleanor King,
Derek Sullivan, and the 2012 winner of the Sobey Art
Award, Raphaëlle de Groot.
It is an enormous pleasure to develop programming
for the SAAG and for those who support our
endeavor to foster a dynamic, refined and committed
relationship to contemporary art. 2012 was indeed
another banner year with engaging exhibitions
of artists that are truly pushing the boundaries
of their discourse. It must be said, however, that
2013 is looking to be an equally dynamic year with
diverse and challenging programming ranging
from locally invested projects dealing with urban
contexts and ecological realities to international
initiatives contemplating data, information and the
construction of meaning in the age of the digital.
Stay tuned.
Ryan Doherty
Curator
The exhibiTionS on View
AT SAAG ThiS lAST yeAr
offered A wide rAnGe of
experienceS And were
inTended To GenerATe Some
new perSpecTiVeS ThrouGh
which To See The world And
our plAce in iT.
12 S o u T h e r n A l b e r T A A r T G A l l e r y
dominiQue rey ........................... 14
Jon SASAki .................................. 15
lAnceloT coAr ........................ 16
chriS kline ................................. 17
chArleS STAnkieVech .......... 18
AnoTher look .......................... 19
miluTin GubASh ......................20
mArcuS coATeS ....................... 21
kriSTAn horTon ......................22
JASon de hAAn ........................23
eleAnor kinG ...........................24
lylA rye ......................................25
Image: Jason de Haan, Nowhere Bodily Is Everywhere Ghostly. Photo by David M.C. Miller and Petra Mala Miller.
2 0 1 2 A n n u A l r e p o r T 13
Winnipeg artist, Dominique Rey,
brought together two bodies of
recent work in her exhibition at
SAAG. In her photographic series,
Erlking, Rey took on a host of
personas from the masked temptress drawing you in,
to the wild-eyed, bearded man seemingly stuck in an
eternal performance of pratfalls. Absurd, grotesque,
titillating and beguiling, Rey’s expressions
of selfhood offered a compelling strategy for
investigating and celebrating otherness. Similarly,
Rey’s Pilgrims, “explore notions of the ‘unbeautiful’
and how the unbeautiful becomes permissible, and
even desirable, under the guise of performance and
public display.” On one hand, there is liberation in
the act of masking and performance that can allow
for self-transformation; on the other hand, as one
might infer from Erlking, sometimes you need to
strip away the veils to let oneself be truly free.
A catalogue featuring these two bodies of work was
produced in collaboration with Gallery 1C03.
Erlking
January 14 to March 4, 2012
14 S o u T h e r n A l b e r T A A r T G A l l e r y
Utilizing video, objects, performance
and installation, Jon Sasaki’s work
takes cynicism, futility and tragedy
as starting points, countering
the thematic heaviness with dry,
comic delivery. He investigates an eternal optimism
that, while endearing and charming, is filled with the
trappings of failure. Good Intentions was organized
by the Doris McCarthy Gallery in partnership with the
Southern Alberta Art Gallery, Kenderdine Art Gallery,
Kitchener-Waterloo Art Gallery, MacLaren Art Centre,
Dunlop Art Gallery and Prairie Art Gallery.
A catalogue featuring much of Sasaki’s
practice was produced in collaboration with
the partnering institutions.
Good Intentions
January 14 to March 4, 2012
Images: (left to right) Gallery attendees check out Dominique Rey’s work at the opening reception of her exhibition, Erlking. Photo by Rod Leland Photography. | Jon Sasaki, Good Intentions, 2012. Photo by David M.C. Miller and Petra Mala Miller.
2 0 1 2 A n n u A l r e p o r T 15
Architect Frei Otto famously
proposed that all structures in
the natural world are formed by
“pressures” both physical and
cultural. In Swarm the creative
pressures that are contained in, and flow through,
the Southern Alberta Art Gallery were captured and
contained in a fabric and rope tensile
structure extending into the park on the north face
of the gallery. At night, coloured lights projected
from various points within the gallery walls,
created shifting shadows of gallery visitors to
the park beyond.
Swarm
January 14 to March 4, 2012
16 S o u T h e r n A l b e r T A A r T G A l l e r y
The work of Montreal-based
artist Chris Kline reflects on the
history of painting—modernist
abstraction, in particular—while
offering a unique take on the
medium’s formal and material vocabulary. Whether
stretching chromatic variations of delicate fabric
over a wooden support or painting nominal bands
of nuanced colour on translucent poplin, Kline’s
works are consistently pared down to an economical
visual language, foregrounding the materiality and
underlying structure of each work. Bright Limit was
organized by Oakville Galleries with the Southern
Alberta Art Gallery.
Bright Limit
March 10 to April 29, 2012
Images: (left to right) Swarm, Lancelot Coar’s site-specific installation which extended into the park on the north face of the gallery. | Gallery attendees check out Chris Kline’s paintings during his exhibition Bright Limit. Photos by Rod Leland Photography.
2 0 1 2 A n n u A l r e p o r T 17
Charles Stankievech is an artist
who creates ‘fieldworks’: a
spatial practice that combines
researching, aesthetic
experiments, curating, pedagogy
and writing in which he reveals latent histories while
questioning conventional boundaries. Two of his
most significant new works, DEW Project and Ghost
Rockets World Tour, were brought together for this
exhibition employing videos, sculpture and artifacts
to comment on the intersection of military influence
and the history of communications.
A catalogue examining these works is in production
with the Foreman Art Gallery, Bishop’s University.
Over the Rainbow, Under the Radar
March 10 to April 29, 2012
18 S o u T h e r n A l b e r T A A r T G A l l e r y
Another Look was an occasion to reflect on 20 years
of contemporary art collecting in southern Alberta.
Through SAAG’s annual Art Auction, our community
has had the opportunity to acquire contemporary
artworks not otherwise available in our small
prairie city. Some of our long-term supporters have
amassed impressive collections almost entirely
through this event. It was our intention to celebrate
the artists and collectors who have contributed to
the success of the Art Auction and who have helped
us engage our community in contemporary art of the
highest caliber.
Another Look:
May 6 to June 10, 2012
Images: (left to right) Charles Stankievech’s work during the opening reception of his exhibition Over the Rainbow, Under the Radar. Photo by Rod Leland Photography. | Another Look: 20 Years of the Art Auction, 2012. Photo by Christina Cuthbertson.
2 0 1 2 A n n u A l r e p o r T 19
This exhibition was part of a
collective effort with four other
arts organizations to examine
the last ten years of Gubash’s
practice. Each curator worked with
a particular focus, be it Gubash’s sustained use of
family and friends, or in SAAG’s case, his adoption
and adaptation of the sitcom and other media
formats. Remote Viewing: True Stories was part of
a ten-year survey exhibition presented by Rodman
Hall Art Centre (St. Catharine’s ON), Carleton
University Art Gallery (Ottawa ON), Kitchener-
Waterloo Art Gallery (Kitchener ON), Southern
Alberta Art Gallery (Lethbridge AB), and the Musée
d’art de Joliette (Joliette QC).
A catalogue surveying Gubash’s practice is currently in
production, co-produced by the partnering institutions.
Remote Viewing: True Stories
June 22 to September 9, 2012
20 S o u T h e r n A l b e r T A A r T G A l l e r y
Stories from the Lower World
featured three of Coates’ most
significant works to date: Journey
to the Lower World, The Plover’s
Wing and Kamikuchi. Each
film featured the artist as shaman, who with an
earnestness to lend a hand, addresses problems
that move from eviction and illegal bicycle parking
to the politics of the Israeli/Palestinian crisis. His
work is revealed as a serious endeavour reflecting
on humanity and our ontological conventions as
they surface through our connection with others
(animals).
Coates was a participant in SAAG’s Intersection
International Residency program at the Gushul
Studio in Blairmore, where he produced a new
work, Turtle Mountain.
Stories from the Lower World
June 22 to September 9, 2012
Images: (left to right) Milutin Gubash, Remote Viewing: True Stories, 2012. Photo by David M.C. Miller and Petra Mala Miller. | Marcus Coates, Journey to the Lower World (Preparation), 2004. Photo by Nick David, courtesy of the Artist and Kate MacGarry, London and Workplace Gallery, UK.
2 0 1 2 A n n u A l r e p o r T 21
One For Yourself brought together
for the first time Horton’s newest
body of work, a selection from his
informally dubbed ‘Sligo Heads’
– portraits eponymously named
after the city in Ireland where they were conceived.
In them, he approaches the photographic portrait
as it collides with digital manipulation and painterly
process. Features are blurred, streaked, disfigured
and exaggerated as though the subject is no longer
fixed within the singular photographic moment
but rather surfaces continually over time. At once
disturbing and graphic, Horton’s images remain
irresistibly beautiful recalling precedents from
Bacon to Duchamp-Villon.
This exhibition was a complement to the survey
exhibition of Horton’s work produced by the MacLaren
Art Centre with whom SAAG will co-produce the most
significant monograph to date of the artist’s work.
One For Yourself
September 29 to November 25, 2012
22 S o u T h e r n A l b e r T A A r T G A l l e r y
The work of Jason de Haan exists
at the collision of precarity and
unpredictability, approached with a
sense of time wrapped in memory,
mythology, fantasy and romance.
His works seem as though they
were rediscovered in some dusty attic or arcane
museum collection - quiet gestures forgotten long
ago – yet from a past that dreamed of a distant future
still unrealized. For his exhibition at SAAG, de Haan
brought together over 10 years of his artistic output.
With support from The RBC Foundation, a catalogue
surveying de Haan’s practice is currently in
production in collaboration with the Art Gallery of
Nova Scotia and the Kitchener-Waterloo Art Gallery.
Nowhere Bodily Is Everywhere Ghostly
September 29 to November 25, 2012
Images: (left to right) The ‘Sligo Heads’ from Kristan Horton’s, One For Yourself, 2012. Photo by David M.C. Miller and Petra Mala Miller. | Jason de Haan, Pie Powder, 2008–2010. Photo by Jaime Vedres Photography.
2 0 1 2 A n n u A l r e p o r T 23
For Stacks, King took inspiration
from the space of the gallery
itself and the surrounding area of
Lethbridge. Working in situ, her
exhibition drew from the history
of the place, be it the lingering ghosts of the former
library, the coal mining industry or the impact of
irrigation. The history of extraction looms large in
the region, the impact felt far beyond the rise and
fall of economies to include the very shape of the
land itself, and King addressed the unsustainability
intrinsic to extracting coal, water, oil and other
resources. Pointing to the convolutions at play, an
enormous mural spanned the walls of the upper
gallery evoking the aerial perspective of the region’s
agricultural mosaic.
Stacks
December 7, 2012 to January 27, 2013
24 S o u T h e r n A l b e r T A A r T G A l l e r y
In Cyclorama, Lyla Rye offered
a series of still images, single
channel videos, and mixed
media installations that look
to the theatrical curtain as a
device to conflate illusion and
reality, dreaming and wakefulness, audience and
participant. Between the “cyclorama”, typically a
concave curtain at the rear and the front curtains
framing the scene, the stage becomes a liminal
zone between everyday life and the imaginary world
of the play.
Cyclorama
December 7, 2012 to January 27, 2013
Images: (left to right) Eleanor King, Stacks, 2012. Photo by David M.C. Miller and Petra Mala Miller. | Attendees young and old enjoy wandering through Lyla Rye’s exhibition Cyclorama. Photo by Rod Leland Photography.
2 0 1 2 A n n u A l r e p o r T 25
As an institution geographically isolated from the
larger arena of contemporary art, publications are
an opportunity to connect our artists and exhibitions
with important writers, theorists, critics and curators
from Canada and abroad. For a recent publication on
Winnipeg artist Dominique Rey, we were delighted to
include an essay by Josée Drouin-Brisebois, Curator
of Contemporary Art at the National Gallery of
Canada. In 2012 we initiated a partnership with the
RBC Foundation to support the artistic development
and production of a major publication on Calgary
artist Jason de Haan. As one of the shortlisted
artists for the 2012 Sobey Art Award, we’re excited
to work with partnering institutions, Kitchener-
Waterloo Art Gallery and Art Gallery of Nova Scotia,
to highlight the work of this rising talent. Scheduled
for completion in 2013, this publication will include
essays by Canadian Art Editor, Richard Rhodes
among others.
With over 150 publications under our belt,
SAAG’s publishing program is vital in fostering the
work of contemporary artists. ABC Artbooks
Canada continues to distribute SAAG publications at
www.abcartbooks.ca. Publications are also available
for purchase in The Shop at SAAG. Our 2012
catalogues include:
Marie-Josée Laframboise: Network Installations
Contributors: Eve-Lyne Beaudry, Andrea Fatona,
Joan Stebbins & Marie-Josée Laframboise
Artist Marie-Josée Laframboise departs from
traditional notions of cartography by constructing
original environments out of preexisting spaces.
These mixed-media sculptures draw attention to
the elasticity of seemingly rigid architectural and
geographical boundaries. Merging her interests in
mathematics, architecture and drawing, she subverts
our preconceived notions of space (and place) and
the ways in which the collective movement of our
eArly in our hiSTory, SAAG
beGAn An inTenSe publiShinG
proGrAm, which conTinueS To
ThriVe To ThiS dAy. AnnuAlly
SAAG publiSheS up To Six
monoGrAphS, SeVerAl of
which hAVe won nATionAl And
inTernATionAl deSiGn AwArdS.
26 S o u T h e r n A l b e r T A A r T G A l l e r y
bodies negotiate territory. Collaboratively produced
by three institutions, this first monograph on the work
of the artist contains two essays and an interview.
Marie-Josée Laframboise has exhibited nationally
and internationally most recently at The Musée d’art
moderne et d’art contemporain de Nice. In English
and French.
Gareth Long: Never Odd Or Even
Contributors: Frances Loeffler, Kevin Killian,
Maria Fusco, Erika Balsom, Simon Critchley
and Gareth Long
Design: We Have Photoshop
Never Odd Or Even documents two bodies of work,
Untitled (Stories) and Bouvard and Pécuchet’s
Invented Desk for Copying, by New York-based artist
Gareth Long. At the heart of both lies a fascination
with books as uniquely flexible vehicles of meaning,
as complex compendia to be read, re-read and
mis-read. The authors: Simon Critchley is chair of
philosophy at New York’s New School for Social
Research. Maria Fusco is Director of Art Writing at
Goldsmiths, University of London. Kevin Killian is
a poet and playwright. Erika Balsom is professor of
film studies at Carleton University. Frances Loeffler
is an independent curator and Projects Curator for
the Liverpool Biennial.
Dominique Rey: Erlking/Pilgrims
Essays: Josée Drouin-Brisebois and
Leon Bernard Johnson
Design: Dana Woodward, Three Legged Dog Design
Dominique Rey is a photographer, painter, and
performance artist whose work is marked by a
fascination with the marginal figure. This publication
documents two series, Erlking and Pilgrims, which
were highlighted in an exhibition at SAAG from
January 14 to March 4, 2012. This striking hardcover
book includes essays by Leon Bernard Johnson and
Josée Drouin-Brisebois, Curator of Contemporary Art
at the National Gallery of Canada and is co-produced
with Gallery 1C03 at the University of Winnipeg.
Forthcoming publications on artists Jason de Haan,
Kristan Horton, Kelly Richardson, and Charles
Stankievech, as well as exhibition catalogues on
Common Ground and On Your Marks will be
released in 2013.
Images: (left to right) A gallery attendee peruses one of SAAG’s many publications. Photo by Rod Leland Photography. | Marie-Josée Laframboise, Points d’inflexion et de rebroussement 2, 2008. Photo by David M.C. Miller and Petra Mala Miller. | Gareth Long, Never Odd Or Even, 2011. Photo by David M.C. Miller and Petra Mala Miller. | Dominique Rey, Erlking, 2012. Photo by David M.C. Miller and Petra Mala Miller.
2 0 1 2 A n n u A l r e p o r T 27
2012 was an exciting year for the
Southern Alberta Art Gallery, and
marked numerous milestones for
the development program. We
saw remarkable support from
individuals, the corporate community, and local,
provincial, and national funding bodies.
Individuals are an important component in our
development initiatives, as they support the gallery
through membership, donations, and volunteering.
Following major growth over the past couple of
years, we’ve been able to maintain our membership
levels, and finished out the year with 710 members
– a 130% increase since 2009. It is now easier than
ever to donate to the gallery, and we were excited to
launch an online giving program in early 2012.
Initiatives such as Facility Rentals and Art &
Culture Tours continue to be a great way to foster
relationships with people in our community and
diversify our revenue sources. Community groups
are eager to book meetings and host receptions in
our beautiful spaces, and we are fortunate to have
long-standing rental agreements with groups such
as Lethbridge Fashion Week and New West Theatre.
For our third annual Art & Culture Tour in May, SAAG
led 16 people on a tour of Chicago, where we spent a
week exploring the riches of art and architecture the
other Windy City has to offer.
Our two major fundraising events, House Tours
& Tea and Art Auction, both reached significant
milestones in 2012. The 10th annual House Tours &
Tea enjoyed one of southern Alberta’s spectacular
sun-filled summer days. The 20th annual Art
Auction experienced a capacity crowd and the art
on the block reached some of the highest prices
we have seen to date. Both events attracted record
sponsorships and attendance. 2012 also saw the
introduction of a new fundraiser, the Craft Beer
Festival, a sold out event in October that brought
many new people to the gallery. We’re looking
forward to our second annual event in 2013!
Support from the corporate sector has always been
important to the gallery, and 2012 was a record
year, bringing in over $180,000 of financial and
in-kind support from local and national partners.
We maintain multi-year partnerships with national
organizations, including TD Canada Trust and
Sun Life Financial. In 2012 the RBC Foundation
contributed $20,000 toward the production of a
monograph on the work of artist Jason de Haan
– the most significant donation the gallery has
received to date in support of this aspect of our
28 S o u T h e r n A l b e r T A A r T G A l l e r y
work. More than 100 organizations support a
variety of initiatives including public programs,
special events and fundraisers, and exhibition
opening receptions.
The Southern Alberta Art Gallery saw numerous
successes when it came to funding applications
and received support from a wide variety of
organizations and initiatives.
At the 2011 Western Sponsorship Congress SAAG
was awarded 10 hours of consulting services from
Brent Barootes, President of The Partnership
Group – Sponsorship Specialists, one of Canada’s
leading sponsorship property service companies.
In the summer of 2012 Executive Director Marilyn
Smith and I spent two days with Brent, who offered
valuable insights into options for growing SAAG
sponsorship initiatives. At the 2012 Congress, I was
invited to participate in an interactive panel session
– The Five Minute Pitch. As one of five sellers, I
had five minutes to pitch partnership programs to
five different buyers, who each had a mock budget
of $100,000. It was a valuable opportunity to talk
about SAAG programs with representatives from
companies such as Best Buy, Mr. Lube, IBM, and
RBC, and make connections with other conference
attendees, and I look forward to fostering these
relationships in the coming months.
After an exciting year we look forward to the plans
that are in place for 2013 and the continuous growth
and expansion of the development program.
We would like to thank all of the individuals,
organizations, and public funding bodies who
supported the gallery in the past year.
A complete list of SAAG supporters can be
found on the following two pages.
Danielle Tait
Director of Development & Communications
SupporT from The corporATe
SecTor hAS AlwAyS been
imporTAnT To The GAllery,
And 2012 wAS A record yeAr,
brinGinG in oVer $180,000
of finAnciAl And in-kind
SupporT from locAl And
nATionAl pArTnerS.
Images: (left to right) Our 3rd annual Art & Culture Tour took 16 travelers to the other Windy City – Chicago. The group is seen here enjoying the view from the Signature Room at the 95th in the John Hancock Center. Photo by Danielle Tait. | Our first annual Craft Beer Festival was a smashing success. Photo by Rod Leland Photography.
2 0 1 2 A n n u A l r e p o r T 29
indiViduAlSFriends Circle $46 – 249Lise & Palmer AchesonTrevor AlexanderAndrea Amelinckx & Rene IvesErik AmelinckxRegis AmelinckxJoseph AndersonShirley AndersonCourtney AtkinsonRay BainboroughDonna BarrettDorothy BeckelBlair BrennanCatharine BrooksPenny CochlanPat ConwayBarbara DaviesBerend DavisBetty DeCeccoJulie Ann DererJackie & Ryan DohertyKelsey DrozdowskiAnne DubordDr. Harold ElkeDonna FarkasJarret FowlerBarb & Greg GoodmanLesley HathornMyles HavingaTracy HembroffRalph HimslLorita & Akira IchikawaHester JiskootJaime JohnstonTerrah JongIvka KadezabekLisa & Larry KonopskiJean KubikCheryl LeSergentBarb LockhartGareth LongKimberly MairKevin McBeathCecile McClearyTracy McNabJackie McNamara
Laura & Colin MillerPaddi MillsPeter MuellerStuart MuellerTroy NickleDoreen OakesShannon PreusArianna RichardsonScott RogersNaomi Sato & David FarstadJean SheppardElizabeth SongerKasia SosnowskiMichael StinglLea & Mark SwitzerCarole & George VirtueKatherine WasiakJoanne & Greg WeadickKathryn & Ron Yoshida
Curator’s Circle $250 – 499Karen & Troy BasarabMarion & Barrie BroughtonJennifer DavisDr. Leslie DawnMarianne GerlingerTanya GillMarilyn & Vaughan HembroffDawn LeiteKyla MallettAnnie MartinMagdelena & Dario MilojevicJonathon ParkHenriette PlasJanice RahnDominique ReyRob SakamotoJeffrey SpaldingTyler StewartDonna & Bruce TaitKaren & Dan WestwoodJohn WillMary Shannon WillCarol Williams
Director’s Circle $500 – 999Carol & Jeffrey AndersonSimon AtkinsonSigga Bjorg SigurdardottirMichael CampbellJeffrey Coffman & Sylvia OishiChristina Cuthbertson & Dana WoodwardDagmar DahleBreanne DayAmy DodicMandy EspezelCarla FerrariDenton FredricksonDon GillKaren & Rob GunnOlive GreenPeter GreenNicole HembroffBev & Al HosackM.N. HutchinsonCecily KenwoodDale KetchesonChris KlineDr. Gary KrivyJohnna Kubik & Doug McCallumDiana & Ike LanierKathy & Ken LewisHeather Macdonald- SorochanJennifer MacLachlanPetra Mala MillerDavid Cocks & Karla Mather-CocksAlexander McKayEric MetcalfeDavid MillerCatherine RossChes SkinnerJennifer & Dean SpriddleCharles StankievechGord TaitJody Tait
Cory ThibertCara VarzariBekk Wells
President’s Circle $1000 – 2499Chris CranJane CraneBarb & Jim CunninghamCheryl DickLeanne Elias & Glen MacKinnonTrudy & Brad HembroffGordon & Elizabeth Jong Mary KavanaghMuriel Mellow & Tad MitsuiDoug MyhreBetty NickleLyal SakamotoJon SasakiRae-Ann & Ralph Thrall IIIWendy & Bruce ThurstonJanice VarzariNicholas WadeSharon Webb
Patron’s Circle $2500 – 4999Jennifer & Christopher BabitsVictoria BasterSonja BattyLevi Cox & Ryan JussAllan Harding MacKayGordon KeithAntje LeeJune & Peter LenzJenny McIlroyElspeth Nickle & Ron TeatherMarilyn Smith & Darrell AlexanderMyra SorochanKaren Thomas
30 S o u T h e r n A l b e r T A A r T G A l l e r y
corporATeFriends Circle $46 – 24949th Parallel GroupAFIC CanadaArt Gallery of AlbertaArt Gallery of CalgaryAlley Kat BrewingBad Apple Salon & SpaBig Rock BreweryBoston PizzaCanadian Art MagazineCastle MountainClassique DancewearCraft Beer ImportersCrazy CakesCrowsnest Pass Golf & Country ClubDelancey DirectEdible ArrangementsEsplanade Arts & Heritage CentreEvergreen Golf CentreFort Whoop-Up Interpretive CentreGalt Museum & ArchivesJane Senda – Teagarden SatchelsLa Di Da Lane Photography Lethbridge Jazz SocietyLong & McQuadeMendel Art GalleryMocha CabanaMystique Home DécorNicholai Home FashionNickle Arts MuseumNikka Yuko Japanese GardenNutter’s Bulk & Natural FoodsP & H Milling GroupPita PitPrairie West BandRound Street CaféSteam WhistleStreatside Eatery
Tompkins JewellersUniversity of Lethbridge Faculty of Fine ArtsYoga Rituals
Curator’s Circle $250 – 499Ad-Caddy Inc.Cloverdale PaintFairfield AppliancesFrontier IrrigationHironaka Employee Benefits Inc.Horizon BeersImage CabinetryIntegrity DentalKubik & CompanyLethbridge Country Club Lethbridge Symphony OrchestraMacLachlan McNab HembroffManatoulin Transport Inc. McKillop Insurance & Registry ServicesMike’s PlumbingMilne Pritchard Law OfficeMoxie’s Grill & BarNew West TheatreNyhoff ConstructionPrecon ManufacturingSleeman/UnibroueSouthern Alberta Rock Gardens & LandscapingTamura ElectricThe Kitchen CentreThe Penny Coffee HouseThe Sous ChefThe Sutton Place Hotel Edmonton Director’s Circle $500 – 999Advance Glass & AluminumAll Weather Windows & Lealta Building SuppliesBakers Appliances
Business Development Bank of CanadaCanadian Tire NorthCatwalk Salon & SpaDevan Dubnyk & Milestone MazdaDimnik & Co.Edible EleganceHosack Denture ClinicHytech ProductionKPMGLethbridge Periodontal Associates – Dr. Troy BasarabNorth & Company LLPPeter Mielzynski AgenciesSubaru of LethbridgeSubwayTwo Guys & A Pizza PlaceUltraviolet EyewearWall Décor & MoreYoung Parkyn McNab
President’s Circle $1000 – 249994.1 CJOC Adora KitchensAllied Arts Council of LethbridgeBMO Bank of Montreal – West Lethbridge BranchCado DevelopmentsCentury 21 Foothills Ltd.Express Coffee & TeaFlowers on 9thGalko HomesLethbridge VolkswagenManagement Resource ServicesNancy Saake FramingPurolator FreightRock 106Signature HomesWesbridge Construction
Patron’s Circle $2500 – 4999Andrew Hilton Wine & SpiritsFerrari Westwood Babits ArchitectsLethbridge Lodge Hotel & Conference CentreMilestone MazdaPratt & Whitney Canada PlumRod Leland PhotoThree Legged Dog – Graphic Design
Benefactor’s Circle $5000+Christie DigitalDeloitteHaskayne School of BusinessLA ChefsMNP LLPPattison OutdoorRBC FoundationRozsa FoundationSun Life Financial Service CenterTD Canada TrustVolution Tax LLP
public funderSAlberta Foundation for the ArtsAlberta Lottery FundCanada Council for the ArtsCity of LethbridgeGovernment of AlbertaIndustry Canada – CAPYIService CanadaYoung Canada Works
2 0 1 2 A n n u A l r e p o r T 31
Volunteerism accounts for a
significant portion of SAAG’s
human resources and lends vital
support to many areas of operation
at the Southern Alberta Art Gallery.
We are fortunate to rely on a highly skilled and
dedicated volunteer force that contributes nearly
3000 hours to exhibitions, events, programs and
core business processes on an annual basis.
SAAG is delighted to offer a wide variety of
volunteer opportunities and strives to engage a
broad demographic through this program. In 2012
we offered three internship positions through the
University of Lethbridge. In the spring New Media
student He Li completed a 300-hour internship,
which saw her contribute graphic design and
marketing materials to various projects at SAAG. In
the fall we welcomed Art students Myles Havinga
and Andrea Kremenik to the Curatorial Team for
semester-long internships dealing with exhibitions
and artist submissions. Through SAAG’s internship
program, students are provided valuable learning
and practical experiences within their field of study,
while filling a strong need within the gallery.
Our involvement with the youth service organization,
Katimavik was another success of our 2012
volunteer program. Through Katimavik, youth aged
17 to 21 traveled from all over Canada to be placed in
our community for three-month postings. During this
time participants volunteered full-time at community
organizations fulfilling a variety of roles, and at
SAAG we were delighted to host Kyan Caldwell
(British Columbia) and Rae Shirton (Ontario) who
worked closely with our Gallery Educators delivering
art classes and tours for children.
We are grateful for the support we receive through
volunteerism and would like to highlight the
contributions of three individuals: Elspeth Nickle
who contributed over 300 hours to improving and
streamlining SAAG’s information management
systems, Ian Thompson who gave more than 200
hours to construction projects and exhibition
installations, and Jennifer MacLachlan who donated
more than 100 hours to curatorial processes and
exhibition installations. In addition to these three
volunteers, we’d like to recognize everyone who
generously gave their time to the gallery in 2012.
Christina Cuthbertson
Assistant Curator
32 S o u T h e r n A l b e r T A A r T G A l l e r y
Darrell AlexanderWhitney Alvarez Andrea Amelinckx Nancy AndersonWilliam AustinCatharine BrooksKyan CaldwellDavid CocksTeena CormackRich CuthbertsonBerend DavisJasper DavisJennifer DavisShannon DerryAli DuffCarla FerrariKeith GardnerBrian GallantDonna GallantVenita Gaynor
Marie GomezMyles HavingaBrailey HirscheJared HirscheKris HodgsonAndrea HoganTravis HosackCarissa JohnsonAndrea KremenikJohnna KubikNicole LalondeSpencer LawreySu Hun LeeKaitlyn LefaivreMallory LeggeBrenna LowrieHe LiSheila MacKenzieJennifer MacLachlanNicole Meech
Jeff MerrittFaith MetzgerShelley MetzgerLiam MonaghanEmil MoniasColin MillerLeiflynn MundPatti NorthShannon OlsonTina OlsonAlyssa PavanJillian PalmerLyn PatersonBeth ReidPaige RosnerRae ShirtonDavid SmithAllison SpencerDevon SpriddleOlivia Steckly
Ryan StevensonCathryn StoryKendra Sutter Dylan TaitRon TeatherEmily TimmonsNatalie TimmonsIan ThompsonBrynne ThurstonCaitlyn TraceyKatie WallaceAlex WardAmber WattKim WhiteDana WoodwardJeanne XieTheresa YauckDarryl Zoerb
ThAnk you To eVeryone who GenerouSly GAVe Their
Time To The GAllery in 2012
Images: (left to right) Longtime volunteer Elspeth Nickle excitedly chats about an artwork with another gallery-goer. Photo by Rod Leland Photography. | Dedicated installation volunteers Ian Thompson and Jennifer MacLachlan are a great team. Photo by Danielle Tait. | Volunteers Katie Wallace and Andrea Hogan welcome guests during our 10th annual House Tours & Tea. Photo by Christina Cuthbertson. | Painting the walls in preparation for the next exhibition. Photo by Rod Leland Photography.
2 0 1 2 A n n u A l r e p o r T 33
The Southern Alberta Art Gallery is a gathering
space – a site to access and experience new ideas.
We are committed to the learning and growth of our
visitors and community and take great pride in the
breadth and quality of programs we offer. Events,
workshops, community collaborations, tours, and
educational programs expand upon and complement
our regular schedule of exhibitions, encouraging a
variety of responses and thoughtful engagement
with contemporary art. Following SAAG’s expansion
in 2010 we’ve continually grown and enhanced our
institutional engagement strategies. From increasing
enrolment in our well-established educational
programs to expanding our notions of communication,
participation and delivery models, SAAG continues to
offer vital, engaging and diverse experiences to our
varied audiences.
Central to SAAG’s institutional engagement strategy
is a commitment to fostering community. Whether
online, in a contemporary arts sphere, or within
our hometown, SAAG nurtures community through
collaboration, participation and dialogue. We regularly
collaborate with a wide range of organizations both
locally and nationally – art galleries, nonprofits,
individuals, schools, media outlets, businesses and
corporations all join the roster of those with whom
we share fruitful partnerships. Notably, in 2010
SAAG announced a five-year agreement with TD
Canada Trust in support of the TD Creativity Centre
to the tune of $50,000. As one of the major new
features of our building, the TD Creativity Centre
serves as a classroom, lecture hall, performance site,
community meeting space and more. The introduction
of this space has had both tangible and intangible
benefits to the gallery, and has shaped the direction
of our engagement strategies in profound ways. It
has become a hub for new experiences, thoughtful
exploration and meaningful engagement. Similarly, our
renovation introduced a gathering space, which invites
a friendly and social atmosphere; an improved library
open to SAAG members, University of Lethbridge (U of
L) students and Lethbridge Public Library cardholders;
and a multipurpose space that marries the endeavors
of our exhibitions and educational programs.
Beyond the physical boundaries of our institution,
SAAG has an increasing desire to extend notions of
community and citizenship through virtual channels.
In spring 2012, we were fortunate to receive a
Community Access Program Youth Initiative grant
to develop a robust online engagement strategy.
With staggering numbers of users engaging in
online communities, we wanted to consider the
far-reaching implications of social media, both
practically and theoretically. We currently maintain
34 S o u T h e r n A l b e r T A A r T G A l l e r y
a Facebook page, Twitter feed and YouTube channel
that aim to connect people with our purpose. While
these channels are highly relevant to the marketing
and financial objectives of the gallery (ie attracting
visitors, members and donors), we continually
explore ways to make our online interactions
meaningful, provocative and relevant.
Active citizenship has always been an important
part of SAAG’s institutional engagement strategy
and following our renovation in 2010 we’ve greatly
increased our capacity to participate in diverse
initiatives, and to respond to the needs of our
community. In 2012 we were delighted to work with
Mountain Standard Time Performative Art Festival
(M:ST), showcasing a diverse range of performative
art both local and international. SAAG also worked
with the U of L Departments of Art and Aboriginal
Studies to present Contemporary Indigenous
Performance Art – Where its Been and Where its
Going. This event brought respected Canadian artists
Rebecca Belmore, Adrian Stimson and Terrance
Houle together for a panel discussion moderated by
David Garneau. The afternoon culminated in several
performances by budding aboriginal artists as well
as a new performance by Adrian Stimson. Another
highlight was Ecotone, a symposium on the meeting
of communities. This event brought artists, scientists
and ranchers together for a two-day event with
special lectures, a tour of one of Canada’s oldest
research sub-stations and a 100-mile meal prepared
by southern Alberta ranchers.
One of our more established programs, Coulees and
Culture Connection, brings SAAG, the Galt Museum
& Archives, Helen Schuler Nature Centre, New
West Theatre Company and the Lethbridge Public
Library together to present week-long camps for
kids, exposing them to the wealth of recreational and
cultural experiences available in Lethbridge. Yearly
participation in Arts Days and the Mayor’s Luncheon
AcTiVe ciTizenShip hAS
AlwAyS been An imporTAnT
pArT of SAAG’S inSTiTuTionAl
enGAGemenT STrATeGy And
followinG our renoVATion in
2010 we’Ve GreATly increASed
our cApAciTy To pArTicipATe
in diVerSe iniTiATiVeS, And To
reSpond To The needS of
our communiTy.
Images: (left to right) The opening exhibition of Art’s Alive and Well in the Schools always draws a large crowd. Photo by Rod Leland Photography. | Artists, scientists, and ranchers explore the Stavely Research Substation during the Ecotone Symposium. Photo by Dana Woodward.
2 0 1 2 A n n u A l r e p o r T 35
for Businesses in the Art are just two more examples
of SAAG’s civic engagement. Additional collaborative
highlights in 2012 included Diversity Café, an
evening to celebrate the changing ethnic make-up
of Lethbridge; Pink Ribbons Inc film screening,
presented in partnership with Lethbridge Public
Interest Research Group and Dayna Daniels, U of
L Department of Women & Gender Studies; the
Schizophrenia Society Art Show, which showcased
a range of artistic output by individuals with
schizophrenia; and a special lecture with LGBT
Advocate, Nate Phelps, for International Day Against
Homophobia and Transphobia. These and other
similar events demonstrate SAAG’s commitment to
playing an active and vital role in our community
by providing a forum for dialogue around many
important social issues.
One of SAAG’s most successful and longest
running community collaborations has been a
35-year partnership with Lethbridge schools. Art’s
Alive and Well in the Schools is an exhibition that
annually showcases the work of 400+ children from
kindergarten to grade 12, and has cumulatively shown
the artwork of more than 14,000 local school children.
Visitors and members frequently tell us that their first
introduction to SAAG was through this exhibition, and
in many cases, stands out as their first encounter
with contemporary art. During the run of Art’s Alive,
more than 3000 people visit the gallery, many of
whom participate in Gallery School, a program that
provides guided tours and art activities that relate to
our exhibitions while incorporating themes from the
Alberta curriculum.
Originally intended as a compliment to Art’s Alive,
(May – June) Gallery School (formerly Safari to the
Gallery) has grown into a year-round program that
provides a unique opportunity for school groups
to engage with contemporary art. Our Educational
Advisory Committee, made up of teachers from
southern Alberta, works closely with our Gallery
Educators in the development of Gallery School.
This collaboration ensures strong delivery of the
program, deeper engagement with our exhibitions,
and meaningful significance to teachers’ wider
objectives for learning outcomes in their classrooms.
Furthermore, in 2010 we announced a three-year
commitment from Sun Life Financial Service Center
for the development of the Sun Life Financial Service
Center Art Bus. The Art Bus eliminates the major
barrier teachers face in accessing Gallery School
by underwriting the cost of transportation to and
from schools. Since the introduction of the Art Bus
in 2010, Gallery School has seen a 300% increase
in participation, and we look forward to continued
growth in coming years.
Creating an environment for enriched learning
experiences is a pursuit we extend beyond grade
school to our interactions with post-secondary
institutions and lifelong learners. Our city is home to
Lethbridge College and the University of Lethbridge
and SAAG is fortunate to have strong ties to both
institutions. A long-standing partnership with the
U of L’s Art Now Visitors in the Arts Lecture Series has
enabled our exhibiting artists and guest curators to
reach a wide audience with lectures on their work and
research. Faculty, staff and students make up a large
portion of our visitors, membership and volunteer
base, and professors in the U of L Art Department
have contributed greatly to SAAG’s exhibition and
educational programs. More recently we’ve introduced
internships for university and college students
including positions in marketing and communications,
design, and curatorial, in which students gain valuable
real-world experience while receiving course credit
toward their degree or diploma.
Lifelong learners represent an important segment
of SAAG’s audience – they are people who value
meaningful experiences, who want to engage rather
than consume and who enjoy exploring new ideas.
Recently SAAG conducted a writing workshop with
Canadian Art Editor, Richard Rhodes that highlighted
the importance of writing to the advancement
of contemporary art. Through this workshop we
introduced our audience to a highly relevant pursuit
in an artistic arena, and have aimed to foster a
new generation of art writers in southern Alberta.
Following this workshop one of our participants
wrote a review that was published by Canadian Art
36 S o u T h e r n A l b e r T A A r T G A l l e r y
online. In January 2013 SAAG is partnering with The
Banff Centre to present a writing competition for
Alberta residents, the winner of which will receive
a week-long all-expenses-paid residency at The
Banff Center. This writing workshop and competition
are just two examples of SAAG’s commitment to
offering unique and specialized instruction to those
wishing to expand their art education. Our popular
Articulations: Art Appreciation Lecture Series,
introduced in 2009, is offered annually as an eight to
twelve-week series and has addressed such themes
as Women in Art, Aboriginal Art, Canada on the World
Stage, Lethbridge Architecture, Performance Art,
the History of Modernism and more. Through this
program our audience has had the rare opportunity
to hear from experts from across Canada including
Cheryl Meszaros, John O’Brian, Leslie Dawn, Trevor
Boddy, David Garneau, Marc Mayer, Barbara Fischer,
Jonathan Shaughnessy and many others.
In addition to engaging with an informed audience,
SAAG is equally committed to presenting a range
of experiences to the new or uninitiated audience.
We know that contemporary art is challenging and
for some, can seem elitist or intimidating. We also
know that when we’re able to break down these
barriers to encourage participation and nurture
understanding, we provide experiences that enrich
lives. By reaching out to diverse populations, SAAG
is able to form positive first encounters with the
gallery and contemporary art. In April and May 2012
we were delighted to participate in the first annual
Treaty Seven Art Fair. SAAG played an advisory role
in this inaugural event, which saw students from all
over southern Alberta come together in celebration of
traditional and contemporary aboriginal art. We look
forward to our ongoing role in this initiative.
New Canadians are an important part of our social
fabric, and in the last few years Lethbridge has
seen a major increase in immigrant populations.
SAAG is proud to be the designated pick-up
location in Lethbridge for the nation-wide Cultural
Access Pass program developed by the Institute for
Canadian Citizenship. Through this program we offer
complimentary yearlong memberships to Canadians
in their first year of citizenship. We’re also working
with Lethbridge Immigrant Services and the City of
Lethbridge in the development of a similar program
that would extend free citywide cultural access to
new residents and those with refugee status.
One of the simplest ways to encourage participation is
by removing financial barriers. In 2011 SAAG introduced
the Encouraging Creative Minds Bursary Program,
which subsidizes the cost of registration in SAAG’s
various educational programs. We also offer free
admission to the gallery every Sunday and have seen
that 15% of our visitors take advantage of this offering.
We’re currently investigating corporate sponsorship of
Free Sundays at SAAG where we would conduct free
family oriented activities in our TD Creativity Centre in
addition to free admission into our exhibitions.
Providing a friendly, social environment is yet another
way SAAG encourages participation. Events such as
our well-attended exhibition openings, bi-monthly
Happy Hour events, annual special events such
as House Tours & Tea and Art Auction all offer
unintimidating encounters with SAAG. Similarly, in
2010 we took a group of 27 to New York City for our
first Art & Culture Tour. We have since led groups to
Paris, Chicago and in 2013 will head to Venice. These
tours have generated funds for the gallery but have
also allowed us to offer unique learning opportunities
for our audience, and in the process develop deeper
relationships with several of our members.
In addition to the programs and initiatives highlighted
here SAAG carries out numerous educational
programs for all ages, two film programs, regular
artist talks and curatorial tours that expand upon
and complement our regular schedule of exhibitions,
encouraging a variety of responses and thoughtful
engagement with contemporary art.
For a complete list of our 2012 public programming
activities, and how they engage our community
audience, see the chart on the following four pages.
Christina Cuthbertson
Assistant Curator
2 0 1 2 A n n u A l r e p o r T 37
Annual General meeting March 28
Architecture & design now Lancelot Coar – January 9
Art & culture Tour to chicago May 25 to June 1
Art clubJanuary 6 to March 30April 6 to June 22September 7 to December 14
Articulations: Art Appreciation lecture Series October 2 to November 27
Art in mediaJanuary 12 to March 29April 5 to May 31
Art in motionJuly 16 to 20
Artist Talk & Sneak peek of exhibitions Jon Sasaki, Dominique Rey & Lancelot Coar with KPMG – January 12Jason de Haan & Kristan Horton with RBC – September 25Jason de Haan with RBC – November 2Lyla Rye & Eleanor King with North & Company – December 6
Artist workshops Dominique Rey – January 14
Art now: Visitors in the Arts lecture SeriesDominique Rey – January 11Jon Sasaki – January 13Charles Stankievech – March 7Jason de Haan – September 24Kristan Horton – September 28 Eleanor King – December 3Lyla Rye – December 5
General Community
SAAG Members
Students & Teachers
Children & Families
Artists
Sponsors & Donors
38 S o u T h e r n A l b e r T A A r T G A l l e r y
Art’s Alive & well in the SchoolsMay 6 to June 10
Arts days – September 28 to 30• Pancake Breakfast
• Family Activities
• How to Write a Review Workshop
community events• Real Beef: Short Films Premiere – March 30
• Lecture: Art, Security and The Arctic: New Understandings – April 11
• Treaty 7 Art Fair – April 27
• Brightening Boardrooms with Art – May 1, 2012 to May 1, 2013
• Schizophrenia Society Art Show – May 2
• Performance & Panel Discussion: Contemporary Indigenous
Performance Art – Where it’s Been and Where it’s Going – May 9
• Lecture: International Day Against Homophobia and Transphobia – May 17
• Lethbridge Jazz Festival Big Band Performance – June 14
• Canada Day Family Activities – July 1
• Films4Peace – September 28 to November 25
• Artist Talk: Dick Averns – October 21
• Performance Cabaret: Mountain Standard Time
Performative Art Festival – October 21
• Bright Lights Festival – November 23
coulees & culture connection April 2 to 5April 10 to 13July 23 to 27August 13 to 17
General Community
SAAG Members
Students & Teachers
Children & Families
Artists
Sponsors & Donors
Images: (left to right) All eyes are on Gallery Educator Cristie Gray during a Gallery School visit. | Jon Sasaki talks about his exhibition Good Intentions. Photo by Rod Leland Photography. | A young artist checks out the work in Art’s Alive and Well in the Schools. Photo by Rod Leland Photography. | Thank you to our friends from BMO Bank of Montreal – West Lethbridge Branch, who sponsored our annual Arts Days Pancake Breakfast. Pancakes and coffee were served to nearly 200 Art Walk participants. Photo by Danielle Tait.
2 0 1 2 A n n u A l r e p o r T 39
curatorial Tours February 8March 19October 16October 17
exhibition discovery room Charles Stankievech & Chris Kline – March 10 to April 29
exhibition opening reception & Artist Talks Jon Sasaki, Dominique Rey & Lancelot Coar – January 14Charles Stankievech & Chris Kline – March 10Milutin Gubash & Marcus Coates – June 22Kristan Horton & Jason de Haan – September 29Lyla Rye & Eleanor King – December 7
fundraising events
• House Tours & Tea – July 28
• Art Auction – September 15
• Craft Beer Festival – October 20
Gallery School January 16 to April 29May 6 to June 10October 1 to December 14
Gushul Studio Tours Marcus Coates – June 24
happy hour February 10April 13May 11July 13September 7November 30
intersection residencyMarcus Coates – June 1 to July 3
General Community
SAAG Members
Students & Teachers
Children & Families
Artists
Sponsors & Donors
40 S o u T h e r n A l b e r T A A r T G A l l e r y
magazine launches Prefix Photo Magazine – January 14Canadian Art Magazine – September 29
public Art Summer camp August 7 to 10
SAAG cinemaJanuary 25February 29March 28April 25
Sponsorship Appreciation event January 19
Tender fingers January 14 to March 31April 7 to May 26July 2 to 6July 9 to 13July 23 to 27July 30 to August 3August 13 to 17August 20 to 24September 12 to December 12
Tuesdays at noon February 7 to May 22May 29 to June 26September 11 to November 27December 4 to December 18
writing competition: The contemporary Art review September 30, 2012 to January 31, 2013
General Community
SAAG Members
Students & Teachers
Children & Families
Artists
Sponsors & Donors
S O U T H E R N A L B E R T A A R T G A L L E R Y A N N U A L R E P O R T 2 0 1 2 2 1
Images: (left to right) Smiles all around at our 20th annual Art Auction. Photo by Rod Leland Photography. | Art Auction attendees check out the items up for bid in the silent auction and purchase roses for our “Destination Anywhere” raffle. Photo by Rod Leland Photography. | Attendees at House Tours & Tea are seen here enjoying fresh brewed tea from Express Coffee & Tea. Photo by Christina Cuthbertson. | Canadian Art Editor Richard Rhodes sparks discussion during the writing workshop How to Write a Review. Photo by Ryan Doherty.
2 0 1 2 A n n u A l r e p o r T 41
The Southern Alberta Art Gallery Association
generated solid financial results in 2012 that
assisted the Association in delivering its programs
and meeting its mandate.
The Association’s 2012 revenue sources
were as follows:
The Association met with much success in the
pursuit of grants during the year. In 2012, the total
grants obtained were $569,044. This was a slight
increase from the total grants received in 2011.
Referring to Notes 7 and 8 of the 2012 Financial
Statements, additional financial highlights from 2012
fundraising activities include:
• A Casino was held in 2011 which resulted in
total revenue of $31,538. In 2012, $17,017 was
brought into revenue. The Association anticipates
participating in another Casino in 2013.
• The Art Auction was another successful event
with a net surplus of $30,288 (2011 - $30,627).
(excluding sponsorships and donations)
• The Shop at SAAG had a strong year and
continues to meet the needs of its patrons. It had
a net surplus of $16,268 (2011 – $14,668).
• The Association participates in other fundraising
activities which resulted in a net surplus of
$94,056 (2011 - $74,269).
The 2012 fiscal year was an exciting year for the
Association and its financial results continue to
lay a solid foundation for the future operations of
the Gallery.
Colin Miller CA
Treasurer
Canada Council for the Arts and Alberta Foundation for the Arts – 35%
Fundraising and Other Income – 28.5%
Donations, Sponsorships and Memberships – 18.5%
City of Lethbridge – 16%
Employment and Other Grants – 2%
SAAGA 2012 GroSS reVenueS
42 S o u T h e r n A l b e r T A A r T G A l l e r y
To the Members and Board of Directors of Southern
Alberta Art Gallery Association:
The accompanying summary financial statements,
which comprise the summary statement of financial
position as at December 31, 2012, and the summary
statements of operations and changes in net assets
are derived from the audited financial statements
of the Southern Alberta Art Gallery Association for
the year ended December 31, 2012. We expressed a
qualified audit opinion on those financial statements
in our report dated March 4, 2013 (see below). The
summary financial statements do not contain all the
disclosures required by Canadian generally accepted
accounting principles. Reading the summary
financial statements, therefore, is not a substitute
for reading the audited financial statements of the
Southern Alberta Art Gallery Association.
Management’s Responsibility for the
Financial Statements
Management is responsible for the preparation of
a summary of the audited statements in
accordance with Canadian generally accepted
accounting principles.
Auditors’ Responsibility
Our responsibility is to express an opinion on
the summary financial statements based on our
procedures, which were conducted in accordance
with Canadian Auditing Standard (CAS) 810,
“Engagements to Report on Summary
Financial Statements.
Opinion
In our opinion, the summary financial statements
derived from the audited financial statement of
the Southern Alberta Art Gallery Association as
at December 31, 2012 are a fair summary of those
financial statements, in accordance with Canadian
generally accepted accounting principles. However,
the summary financial statements are misstated
to the equivalent extent as the audited financial
statements of the Southern Alberta Art Gallery
Association for the year ended December 31, 2012.
The misstatement of the audited financial
statements is described in our qualified audit
opinion in our report dated March 4, 2013. Our
qualified audit opinion is based on the fact that
in common with many charitable organizations,
the Organization derives revenue from donations,
the completeness of which is not susceptible of
satisfactory audit verification. Accordingly, our
verification of these revenues was limited to the
amounts recorded in the records of the organization
and we were not able to determine whether any
adjustments might be necessary to contributions,
excess of revenues over expenditures, current
assets and net assets.
Lethbridge, Alberta
March 4, 2013
Chartered Accountants
Independent Auditors’ Report on the Summary Financial Statements
2 0 1 2 A n n u A l r e p o r T 43
SouThern AlberTA ArT GAllery ASSociATionStatement of financial position
As at December 31, 2012 General Education Capital Permanent OtherWorks Endowment Dec.31 Dec. 31 Jan. 1 Fund Fund Assets ofArt Fund 2012 2011 2011AssetsCurrent Cash 473,486 23,748 - - - - 497,234 324,328 297,441 Term deposits - - - - - - - 77,022 Accounts receivable 33,686 - - - - - 33,686 58,891 60,295 Inventory 16,336 - - - - - 16,336 15,364 18,290 Prepaid expenses and deposits 25,531 - - - - - 25,531 53,568 43,658
549,039 23,748 - - - - 572,787 529,173 419,684
Capitalassets(Note 3) - - 133,100 - - - 133,100 134,085 136,839
Endowmentinvestments(Note 4) - - - - - 165,169 165,169 153,817 155,959
Collections(Note 5) - - - 99,590 13,543 - 113,133 113,133 113,133
549,039 23,748 133,100 99,590 13,543 165,169 984,189 930,208 825,615
LiabilitiesCurrent Accounts payable and accruals 171,269 - - - - - 171,269 144,500 111,380 Deferred revenue (Note 6) 60,684 - - - - - 60,684 96,501 64,344
231,953 - - - - - 231,953 241,001 175,724
NetAssets 317,086 23,748 133,100 99,590 13,543 165,169 752,236 689,207 649,891 549,039 23,748 133,100 99,590 13,543 165,169 984,189 930,208 825,615
ApprovedonbehalfoftheBoard
Director Director
44 S o u T h e r n A l b e r T A A r T G A l l e r y
SouThern AlberTA ArT GAllery ASSociATionStatement of operations
As at December 31, 2012 General Education Capital Permanent OtherWorks Endowment Dec.31 Dec. 31 Fund Fund Assets ofArt Fund 2012 2011
RevenueGrant revenue Alberta Foundation for the Arts 225,615 - - - - - 225,615 189,767 City of Lethbridge 167,433 - - - - - 167,433 202,900 Canada Council 153,750 - - - - - 153,750 150,000 Employment grants 13,853 - - - - - 13,853 17,056 Other grants 8,393 - - - - - 8,393 7,560Fundraising and other (Note 7) 305,319 - - - - - 305,319 313,965Donations and sponsorship 198,284 - - - - - 198,284 111,065Imputed rent 146,076 - - - - - 146,076 146,076Endowment fund gain - - - - - 12,788 12,788
1,218,723 - - - - 12,788 1,231,511 1,138,389
ExpensesSalaries and related expenses 395,574 - - - - - 395,574 381,123Exhibition and public programming 204,300 - - - - - 204,300 180,381Facility 165,095 - - - - - 165,095 166,214Administration 148,322 - - - - 1,436 149,758 111,074Fundraising and related expenses (Note 7) 147,715 - - - - - 147,715 194,401Marketing and communications 86,792 - - - - - 86,792 47,634Amortization - - 19,248 - - - 19,248 18,247
1,147,798 - 19,248 - - 1,436 1,168,482 1,099,074
Excess(deficiency)ofrevenueoverexpenses 70,925 - (19,248) - - 11,352 63,029 39,315
SouThern AlberTA ArT GAllery ASSociATionStatement of changes in net Assets
As at December 31, 2012 General Education Capital Permanent OtherWorks Endowment Dec.31 Dec. 31 Fund Fund Assets ofArt Fund 2012 2011
Netassetsbeginningofyear 264,424 23,748 134,085 99,590 13,543 153,817 689,207 649,892
Excess(deficiency)ofrevenueoverexpenses 70,925 - (19,248) - - 11,352 63,029 39,315
Purchaseofcapitalassets (18,263) - 18,263 - - - - -
Netassets,endofyear 317,086 23,748 133,100 99,590 13,543 165,169 752,236 689,207
2 0 1 2 A n n u A l r e p o r T 45