Working hard or hardly working? How to Start and Sustain a Career in the Arts

Tuesday, March 16 – 7:00pm via Zoom

Registration Link:
https://uleth.zoom.us/meeting/register/tJErceiupj8oHNNiKbAOztXjM93pSJcHW_CT

“How do I start a career in the arts, and how do I sustain it?” These often-asked questions by many Fine Arts students have no simple answer. For many students, the goal of pursuing a Bachelor of Fine Arts degree is to “become an artist,” however, simply being an artist does not come with a paycheque. 

Becoming an artist often involves a trade-off between dedicating time and energy to sustaining your artistic practice and working a “day job” in order to pay the bills. Whether new media, drama, music, or visual arts, some clear employment paths in the arts exist, such as graphic designer, actor, singer, or painter, as well as many less obvious including lighting technician, properties master, luthier, and preparator. 

Featuring former BFA students explaining their own “long and winding road” working in the arts, this Intersections event examines the importance, value, and methods of pursuing “day jobs” directly relevant to your artistic practice.   Attendees of this panel-style discussion will hear about some atypical job opportunities in the arts and discuss how, why, and where the panelists found these jobs including both good and bad experiences. 

While this panel will not tell you “how to get a job,” we will look at important topics such as: 

  • Complementing your artistic practice with an artistic “day job” 
  • Transferability or “leveraging” artistic skills to other employment sectors 
  • Importance of volunteerism to increase paid opportunities 
  • The role of networking and relationships in getting gigs 
Jesse Northey’s background as a musician and recording engineer led him toward other jobs as his interest in the music industry grew. With past work for Alberta Music, Six Shooter Records, and CKUA, he has since started his own music management company and record label, Victory Pool.

Jesse Northey’s background as a musician and recording engineer led him toward other jobs as his interest in the music industry grew. With past work for Alberta Music, Six Shooter Records, and CKUA, he has since started his own music management company and record label, Victory Pool.  

Geneviève Paré is an award-winning theatre artist, filmmaker, and co-founder of Mudfoot Theatre. She is also a wilderness guide and Associate Director of the Canadian Wilderness Artist Residency. She is drawn to the rustic, the absurd and the abstract, and believes storytelling is multi-dimensional and essential as the construction, renewal, and celebration of collective identity. 

Christopher Schultz is an international award-winning Canadian new media artist that specializes in video production, motion graphics, & digital marketing campaigns, known for his work with professional sports teams in the NFL, NBA, NHL, & MLS. He currently resides in Minneapolis, MN, acting as the Marketing Director for video production agency, Triglass Productions.

Kasia Sosnowski graduated with honors from the University of Lethbridge with a combined BFA in both Art History & Museum Studies, and in Art Studio in 2014. With previous work experience at The Banff Centre and the Southern Alberta Art Gallery, she now works at the Allied Arts Council of Lethbridge as the AAC Works Manager. She recently finished a two-month artist residency at Medalta in the Historic Clay District in Medicine Hat, making work for her show “SNEEK-E-PEEP’N” which just closed in the Project Space at the Esker Foundation in Calgary. Her work has also been shown in Lethbridge, Edmonton, and Auckland, NZ, with other upcoming exhibitions planned for 2021.   

Behind the Art: Sonny Day Rider

Enjoy music? Appreciate art? Dying to know what happens behind the scenes?!

Enjoy music?

Appreciate art?

Dying to know what happens behind the scenes?!

Featured artist, Sonny Day Rider, is ready to share it all! Listen and converse with Sonny, a contemporary indigenous composer and pianist involved in research that integrates his traditional sound world with western art song practices. Explore Sonny’s unique and diverse musical palate utilizing disparate genres of music and sound as he shares and discusses his research and creative activity with us.

Please join us and our host, Arlan Schultz, artist, professor, and ASTeRIX steering committee member, for this online event through Zoom on Tuesday, February 9 at 7:00 p.m.

Register here for the event link:

https://uleth.zoom.us/meeting/register/tJUlcuyorDIqEtYzvXbdY6odY_mRKL5v0abS

About ASTeRIX

ASTeRIX (Art, Sound, Technology, Research Intersections) Centre for Research-Creation brings together educators, researchers, students, artists, and the community at large to work across disciplines, fostering training/mentorship and collaborative research opportunities. ASTeRIX is interested in critically and creatively exploring, through a transdisciplinary research-creation lens, the ramifications of emergent technologies.

Teamwork Makes the Dream Work Event References

Thank you to all who joined us for ASTeRIX’s first Intersections series event of the term, “Teamwork Makes the Dream Work: The Hows and Whys of Artistic Collaboration.”

Presenter info 

Hali Heavy Shield, member of the Blood Tribe of southern Alberta; PhD student in visual art and Blackfoot storytelling

Thea Patterson, choreographer, performer, dramaturge, and researcher
https://theapatterson.wordpress.com/

Migueltzinta Solis, mestizXXX interdisciplinary artist; PhD student in Cultural, Social and Political Thought
https://migueltzinta.com/

Tyler Stewart, curator, writer, and MA candidate in Cultural, Social, and Political Thought
https://teestewww.com/

 
References and reading 

Archibald, Jo-Ann. 2008. Indigenous Storywork: Educating the Heart, Mind, Body, and Spirit. UBC Press. https://www.ubcpress.ca/indigenous-storywork  

Bennett, Jane. Vibrant Matter : a Political Ecology of Things.Durham: Duke University Press, 2010.   

Assemblages are ad hoc groupings of diverse elements, of vibrant materials of all sorts. Assemblages are living, throbbing confederations that are able to function despite the persistent presence of energies that confound them from within. They have uneven topographies, because some of the points at which the various affects and bodies cross paths are more heavily tracked than others, and so power is not distributed equally across its surface. Assemblages are not governed by any central head: no one materiality or type of material has sufficient competence to determine consistently the trajectory or impact of the group. The effects generated by an assemblage are, rather, emergent properties, emergent in that their ability to make something happen (a newly inflected materialism, a blackout, a hurricane, a war on terror) is distinct from the sum of the vital force of each materiality considered alone. Each member and proto-member of the assemblage has a certain vital force, but there is also an effectivity proper to the grouping as such: an agency of the assemblage. And precisely because each member-actant maintains an energetic pulse slightly “off ” from that of the assemblage, an assemblage is never a stolid block but an open-ended collective, a “non-totalizable sum.” (24) 

Cole, Arda L., and Knowles, J. Gary. 2007. Handbook of the Arts in Qualitative Research. Sage Publishing. https://us.sagepub.com/en-us/nam/handbook-of-the-arts-in-qualitative-research/book226626 

Kieley, Kelli, and Naveau, Natasha. Dec, 9 2020. “What does a meaningful collaboration between settler and Indigenous artists look like?” CBC Arts (online). https://www.cbc.ca/arts/what-does-a-meaningful-collaboration-between-settler-and-indigenous-artists-look-like-1.5833448  

“Through their work, the duo have been learning a great deal from each other and say their collaborations have been successful because they listen, communicate honestly, and face problems with courage.” 

Lacasse, Serge, and Stévance, Sophie. 2013. Research-Creation in Music and the Arts: Towards a Collaborative Interdiscipline. Taylor & Francis Group. 

“Rather than focussing on individuals, we envisage research-creation in music as a collaborative territory. Accordingly, to respect the dual expertise so indispensable to the field, the favoured approach most often involves bringing creators and researchers together within a single project in which they pool their expertise, in the spirit of collaboration (Smith and Dean 2009a). Thus, the approach is not merely focussed on the individual (researcher-creator or creator), but on the combination of the abilities of each participant put to use for the good of the project” (16). 

“… we strongly believe that one of the most promising paths for the future of the approach involves collaboration, so that rather than putting an emphasis on the individual artist, the focus shifts toward the objectives of the project” (136-137). 

“While cooperation designates the mere grouping of individuals aiming at specific results, collaboration corresponds to a dynamic framework of activities within which a small group of individuals interact in the pursuit of a common goal. In this case, they work together in the context of interdependence and the acknowledgement of each other’s expertise…” (138). 

“Thus, cooperation is characterized by informal relations between individuals who generally work independently and whose respective results are later drawn together, often without systematic interaction between them. Conversely, a collaborative research-creation project is a voluntary process in which experts work together dynamically on the grounds of a shared understanding” (138). 

Robinson, Dylan. 2020. Hungry Listening: Resonant Theory for Indigenous Sound Studies. University of Minnesota Press. 

[The book’s final chapter is a transcription of a conversation between author Dylan Robinson, along with scholars Deborah Wong and Ellen Waterman] “How to arrive at a collaboration based on Deep Listening? For sure, it wouldn’t be an artist writing a strategic grant to take advantage of new Canada Council funding for Indigenous arts. I suspect that a truly ethical collaboration would have to start with an invitation from Indigenous artists and not the other way around. … Exactly: it’s all about listening. I don’t yet know how to do it, but I know I aspire to a radical willingness to claim nothing. To claim no knowledge, no authority, and maybe not even request collaboration: I wonder whether elevating collaboration as the ideal terms for encounter isn’t another kind of hunger. Maybe the first step is to sit just outside the door, without any expectation that we might even be invited in” (246). 

SQ1P2 Art Reveal Reception

Coming soon! Friday, January 8 at 7:00 p.m.

On November 1st, we invited you let your imagination run free to create art, a personal response to SQ1P2, a member’s intriguing Zoom background image. Please join us as we unveil our and your art-making! Also discover the art behind the art and hear about the SQ1P2 image from its creator. Whether you want to see our creations, share your own, hear about the process, or simply connect with others, join us for a fun evening exploring art. All artists, art supporters, and university members welcome!

When & Where: Friday, January 8, 2021 7:00 p.m. – 9:00 p.m. online through Zoom
Register Here: https://uleth.zoom.us/meeting/register/tJUtd–rrDsvHte_ExlOc-qfZcrVEZrZc8lV 
Passcode: 357643

Teamwork Makes the Dream Work: The Hows and Whys of Artistic Collaboration

Tuesday, January 12 7:30 – 9:00 p.m. online through Zoom

What does collaboration really mean? When artists seek to collaborate without shared understanding about what this means, conflicts may arise. However, collaboration often leads to stronger artistic projects and new ways of learning that may not happen while working alone. 

Featuring guest speakers Thea Patterson (uAlberta Ph.D. student) and Migueltzinta Solís (uLethbridge Ph.D. student), and hosted by ASTeRIX graduate assistant Tyler Stewart, this Intersections panel-style discussion seeks to clarify what artistic collaboration really entails, with participants learning how to work creatively in a collaborative environment that emphasizes communication, visualization, and presentation of information. While this event primarily focuses on supporting student and emerging artist/scholars seeking to engage in new collaborative projects, all are welcome. 

Main discussion topics include the following points; however, open discussion event structure allows and encourages all participants to contribute to the conversation and engage with their peers.  

  • What does collaboration really mean? 
  • The hows and whys of collaboration 
  • When is it not collaboration? 
  • Common collaboration challenges 

Collaboration in the Arts Intersections Session
Tuesday, January 12, 2021  7:30 – 9:00 p.m.

Zoom Link: https://uleth.zoom.us/meeting/register/tJ0kdO-qrD8oGdbLAAd8XvoliyEqxkrPpQkZ 

Passcode: 174219

SPEAKER BIOS 

Thea Patterson is a choreographer, performer, dramaturge, and researcher. Her performance practice and research revolve around an acute set of questions about the nature of objecthood, perception, vitality, time and the body. She is currently pursuing a SSHRC funded PhD in Performance Studies at the University of Alberta and is co-editor-in-chief of Intonations, an online Graduate run journal.

Thea Patterson is a choreographer, performer, dramaturge, and researcher. Her performance practice and research revolve around an acute set of questions about the nature of objecthood, perception, vitality, time and the body. She is currently pursuing a SSHRC funded PhD in Performance Studies at the University of Alberta and is co-editor-in-chief of Intonations, an online Graduate run journal.  
 photo credit:
Eleonora Barna 





Hali Heavy Shield is a member of the Blood Tribe of southern Alberta and a PhD student studying visual art and Blackfoot storytelling. 


Migueltzinta Solís is a mestizXXX interdisciplinary artist currently working on a PhD in Cultural, Social and Political Thought at the University of Lethbridge in traditional Blackfoot territory, where he received his MFA in Art. He is trans.




Migueltzinta Solís is a mestizXXX interdisciplinary artist currently working on a PhD in Cultural, Social and Political Thought at the University of Lethbridge in traditional Blackfoot territory, where he received his MFA in Art. He is trans.

Join us. Make Art. Project SQ1P2.

Intrigued by this image? So are we.
ASTeRIX invites visual artists, musicians, dramatists, new media artists, writers, performers, actors, technologists, and all manner of arts practitioners to engage with us in responding to this image: SQ1P2.pdf.

Join us as we begin a new chapter at ASTeRIX filled with the imagination and creative work of you.
 
To this end, we share this small, short, fun project with you – a personal response (whatever it may be) to image SQ1P2, the provocative Zoom background of one of our members.

We encourage you to take it, run with it, then share your art-making with other creators, with us, at an ASTeRIX gathering later this fall.

Explore. Discover. Play.

Happy Making!

Space: Sound, Score and Visuals

Cultured Passionate Space in HUBS

You are invited to attend Interactions in Space: Sound, Score and Visuals with Dr. Keith Hamel Monday, November 2, 2020 1:00 to 2:45 p.m.

Dr. Hamel has been developing interactive audio visual works that allow live musicians to control sound and graphics through their performances and through their physical gestures. He uses computer vision to track movement and audio analysis tools to capture the sonic characteristics of the live performance and he creates highly integrated art works where movement can create sound and sound can create graphics.

Join Here
Zoom: https://uleth.zoom.us/j/93275883643 
Hubs: https://hub.link/XqsMTPq

Suggested Instructions
1. Before the event, visit and explore the stellar Cultured Passionate Space in Hubs. Visit the Interactives or Music Tech pods or stop by the Questions Corner and float a question for Dr. Hamel. You can launch several performances, being mindful of other visitors who may also be watching with you. If you are new to Hubs, check out Getting started in Hubs
2. On Monday, connect with Zoom.
3. Optionally, simultaneously connect to the stellar Cultured Passionate Space in Hubs.

Grants are for Everyone Video and Links

Thank you to all who joined us for ASTeRIX’s first Intersections series event of the term, “Grants are for Everyone: How to Apply!” If you missed it, it is not too late; check out the full recording here:

Resources and associated links from the workshop:

Examples
As Tyler promised, two successful grant application examples for your reference:
Alberta Foundation for the Arts (AFA) Project Description
Social Sciences and Humanities Research Council of Canada (SSHRC) Project Proposal

Award Opportunities
AFA: 
https://www.affta.ab.ca/funding/find-funding 
Canada Graduate Scholarships (Master’s Programs) including CIHR, NSERC, & SSHRC: 
https://www.nserc-crsng.gc.ca/Students-Etudiants/PG-CS/CGSM-BESCM_eng.asp
School of Graduate Studies (SGS) (Graduate Programs): 
https://www.uleth.ca/graduate-studies/award-opportunities/grad

Valuable Grant Application Resources
Renee Leighann’s Grant Writing Guide (download): 
The Mini Guide to Grant Writing 
AFA Grant Application Writing Tips: 
https://www.affta.ab.ca/funding/help-and-resources/application-writing-tips-individual-artists 
AFA Help and Resources:
https://www.affta.ab.ca/funding/help-and-resources
SGS TriCouncil (CIHR, NSERC, SSHRC) Awards Information (Master’s Programs):
https://www.uleth.ca/graduate-studies/awards/tricouncil-nserc-sshrc-cihr-masters
Canadian Common CV: 
https://ccv-cvc.ca/

Article by Letitia Henville, 12 Nov. 2020

For more information or questions, please contact us at asterix@uleth.ca.
Please also let us know if you are interested in joining ASTeRIX or would like to be added to our email list.

Happy granting!

Grants are for Everyone: How-To Apply

Tuesday, October 20, at 7:00 p.m. on Zoom 

If you always wanted to apply for an arts grant but have no idea where to start, this session is for you! Workshop focuses on A AFA Individual Project Grants (up to $15,000 for tuition/living expenses) and SHHRC-Canadian Graduate Scholarship for Masters students (value of $17,500 for tuition/living expenses). ASTeRIX Graduate Assistant Tyler Stewart will walk participants through the application processes and give guidance on key areas to focus on by looking at past examples of successful grant applications. Workshop will include time for discussion, so bring all of your questions. All students, faculty members, and artists welcome.

Register in advance for this meeting:

https://uleth.zoom.us/meeting/register/tJMudOyrqzovH9GWoGCZ4ZXixT4UyPOjIuDw

About ASTeRIX

ASTeRIX (Art, Sound, Technology, Research Intersections) Centre for Research-Creation brings together educators, researchers, students, artists, and the community at large to work across disciplines, fostering training/mentorship and collaborative research opportunities. ASTeRIX is interested in critically and creatively exploring, through a transdisciplinary research-creation lens, the ramifications of emergent technologies.

About Tyler

Tyler J Stewart is a curator, writer, and Master of Arts candidate in Cultural, Social, and Political Thought at the University of Lethbridge. His research focuses on the role of sound within the ongoing structure of settler-colonialism in Canada, investigating how sound is used as a form of social control by those in power to intimidate and silence, and how artists use sound as a form of resistance and refusal against imbalances of power. Since September 2019, he has also worked with ASTeRIX Centre for Research-Creation as a Graduate Assistant, fostering a variety of events and activities to encourage inter-disciplinary collaboration in the arts.