Barbara Amos

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Barbara  Amos

Barbara Amos is a visual artist whose projects have involved a variety of materials including paint, steel, textiles, video and photography. Her finished works encourage questions about our role in the world and the changes that will make it a better place. Fragmentation is a recurring theme in her artworks and environmental and cultural issues have been the current focus.

Her most recent project has involved the use of social media to bring attention to environmental issues in southern Alberta. Recently she has made visited Germany to research architectural glass and was subsequently invited was for a 2 week residency. She has developed new media through scholarships and residencies, in science centers as well as art galleries and since 2004 has been working with a handmade camera lens. Her drawing and painting skills have culminated in a 20 year exhibition record across North America.

Featured Piece

Barbara  Amos The Approach

The Approach


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Barbara  Amos The Approach
The Approach

 
Barbara  Amos Surface Tension
Surface Tension

 

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Barbara  Amos

Barbara Amos

Barbara Amos Biography

SELECTED SOLO EXHIBITIONS
2012 Gibson Fine Art, Calgary AB.
2010 Agnes Bugera Gallery, Solo Show, Edmonton, AB
2008 Telus World of Science, Realidoscope Photographs, Calgary AB
2007 Kensington Fine Art Gallery, New Works,Calgary AB 2006 Whyte Museum, Banff AB. “Cutting Up Our National Parks”
Leighton Centre, Millarville AB “Landscape: Preserving Habitat & Species”
2005 The Prairie Art Gallery, Grande Prairie, AB. “Main Street,” Grand Prairie AB
2004 Cardel Place Public Art Opening, Cardel Place Centre, Calgary, AB.
City Transitions, Artspace Gallery, Calgary, AB,
The Burlington Art Centre, Burlington ON. “Cutting Up The Town,”
2002 Artspace Gallery, Cutting Up The Town, Calgary, AB.
2001 Devo Gallery, Calgary, AB Cutting Up the Town,
Bowman Art Center, Lethbridge, AB All in Jest,
Red Deer Allied Arts Council, Red Deer, AB Cutting Up TheTown
2000 Art Gallery of Calgary, Calgary AB. Enmax Corporate Exhibit,
Art Gallery of Calgary, Calgary AB Suncor Corporate Exhibit,
1991 Wallace Galleries, Calgary, AB. New Works: Still Life by Barbara Amos
Gulf Canada Gallery, Calgary, AB. Figurative Works by Barbara Amos

 

SELECTED GROUP EXHIBITIONS
2010 Agnes Jamieson Gallery, Canadian Landscape, juried show, Minden ON
2010 Marcia Rafelman Fine Art, Toronto ON
2009 Bilton Contemporary Art, Red Deer, AB
2009 Marcia Rafelman Fine Art, ,Toronto, ON 2008 Toronto International Art Fair, M. Rafelman Fine Arts, Toronto ON
Triangle Gallery, The New Generation, Calgary AB
New Gallery Artists, Abbozzo Gallery, Oakville, ON
Open Photo, Visual Arts Alberta Gallery, Edmonton AB
Exposure Photography Festival: Realidoscope Lens & Photographs, Whyte Museum
2007 TELUS World of Science: Realidoscope Lens

2006 Crowsnest Pass Art Gallery, Crowsnest Pass AB “Reality Reassembled,” Leighton Centre, Millarville AB “Landscape: Preserving Habitat & Species”
2005 National Gallery, Alberta Scene, Ottawa, EMMEDIA compilation, video clip BENT
2004 Whyte Museum, Banff AB. “Elemental Inspiration,”
Bowman Art Centre, Lethbridge, AB “Clear Cut: The Understory”,
Red Deer & District Museum, Red Deer,AB “Clear Cut:The Understory”,
2003 EMMedia Gallery, Calgary, AB. Scholarship Recipients, video “Bent”
The Prairie Art Gallery, Grande Prairie AB. “Five Abstract Painters”,
2002 Exit Art Gallery, New York, NY. “ Reactions”,
Williamson Gallery, Art Center College of Design, Pasedena, CA “Reactions,”
City Hall, Calgary, AB. “ 9/11 Memorial”,
Access Gallery, Vancouver, BC “Con/quest, Targeting Tourism”,
The New Gallery, Calgary, AB “Architectonics”, curated group,
2000 Tynedale College, Toronto, ON “Evidence of Things Unseen”,
1999 Muttart Art Gallery, Calgary, AB “Triple Take”,
Wallack Galleries, Ottawa, ON. December Choice, Gallery Artists
Marius Barbeau Museum, St. Joseph, de Beauce, QU.
1996 Edmonton Art Gallery, Edmonton, AB the Prairie Art Gallery, Grande Prairie, and Muttart
Art Gallery, Calgary “Alberta Foundation for the Arts Tenth Anniversary Travelling Exhibition:, Invitational Show

 

PUBLIC ART EXPEREINCE
2010 Royal Alexandra Hospital, Edmonton, Realidoscope Photography 5x48ft.
2010 Cliff Mission Bungalow, City of Calgary & Mission Cliff Bungalow Community Association
Competition Winner, Realidoscope, steel 24x58in,
Architects: Carson McCullogh
2008 Urban Transit Corridor 7 Ave Pathway & Canopies, City of Calgary, Juror
2007 Urban Transit Corridor, Sculpture Aquisition, City of Calgary, Juror
2004 Cardel Place Public Art Commission, Cardel Homes, City of Calgary & Nose Creek Community Association Competition Winner, Celebrations, acrylic on panel 24x90ft
2002 4th Street Sculpture Competition, shortlisted
2001 Themeworks: Calgary Airport Funded Competition, shortlisted, Architects: Cohos & Evamy
2000 Calgary Downtown Association Proposal Drawings for First Street Underpass,
1999 Toronto Pearson Airport, Shortlisted

ARTICLES: MAGAZINE & NEWSPAPER
Galleries West, Fall Issue, Profile, 2012
Lethbridge Herald, Red Alert, Art and the Environment, Sep 2012
Alberta Views, “Eye on Alberta”, photograph dec 2011
Edmonton Journal, Artist Undaunted, Janice Ryan, May 14, 2010
Where Magazine, Edmonton, Hot Art, Gregory Kennedy, May/June 2010
Galleries West, Previews and Profiles, Jill Sawyer, Spring 2010
The Pass Herald, Local Artist Work Featured in Edmonton, April 20, 2010
Alberta Museums Review: A Space for Art,by Linda Hawke, fall 2009
Kanawa, “Canvas and Kayaks” by Janet Walker, spring 2008
Crowsnest Pass Promoter, Barbara Amos Brushes with Change, April13 2007
Albertaviews,” Eye on Alberta”, September 2007
The Cairn,”Barbara Amos, Cutting Up the Park, spring/summer 2006
The Pass Herald, “Reality Reassembled,” N. Gallagher, July 2006
Okotoks Western Wheel, “Exhibit Highlights Neeed to Preserve..” L. Nadon, Aug 30 2006
The Herald Tribune, Grande Prairie, AB “Cutting Up The Land” May 2005
Legacy Magazine, “Clear-Cut Indictment, Artists Respond to Logging in the Big Horn,” fall 2004,
Galleries West, “Previews and Profiles”, editor Jennifer MacLeod, fall 2004
Red Deer Advocate, “Cutting Up The Town, Thurs April 5 2004
Artichoke Magazine, “CARFAC Re-energized,” by Barbara Amos
Where Magazine, “Deconstructing Calgary” editorial Melanie Jones, March-April 2003
New York Times, “Reactions at Exit Art Gallery”, Jan. 2002
Calgary Herald, “Critics Pick, Architectonics Show” by M.B. Laviolette , July 19,2001
Avenue Magazine, “Hot Tickets,” photo & editorial by M. LeManne , July/August 2001
Alberta Views Magazine, “Transitions,” November/December 2000
Where Magazine, “Urban Views,” editorial, January 2000
The Calgary Strait, “Graceland,” B. Amos at the Auburn Saloon, Nov 1999
Calgary Herald January “Accessible works speak about time,” Mary-Beth Laviolette 1999
Calgary Herald, December Galleries, Photograph: Urban Landscape, 8th Avenue
Visual Arts Newsletter, Issue 60. Recent Acquisitions, Alberta Art Foundation 1992

CATALOGUES & BOOKS
Canadian Landscape, Agnes Jamieson Gallery, ed. Laurie Carmount
The Artists’Circle of Calgary, Triangle Gallery Curatorial Essay by Jacek Malec, 2008
Small is All, ASA catalogue, 2008
The Guild Sourcebook for Architectural and Interior Art, The Guild Inc.,Wis. USA 2007
The Cairn, Whyte Museum of the Canadian Rockies, article by Lisa Christensen, Curator of Art, Spring Summer 2006
Burlington Art Centre, “Urban Compositions” Barbara Amos & James Paterson, curated by George Wale, 2004
The Alberta Society of Artists, “The First Seventy Years” by Kathy E. Zimon, pub. University of Calgary Press, 2000
Best of Canadian Pastel, Pastel Society of Canada, pub. Northern Lights Press
Horizon Art Gallery, Gallery Artists, catalogue by Janice Kelly, 1993
Muttart Art Gallery, Aspects of Reality, Curatorial Statement by R. White, Calgary AB. Feb.92

INTERVIEWS
CBC Radio One, Noon Hour, Art Works For Wild Spaces, feb 2012
CBC Radio One, Homestretch, “On the Arts” Sept 20, 2007
The Crowsnest Pass Promoter, Arts & Entertainment Interview sepotember 2007
The Herald Tribune, Grande Prairie, AB “Cutting Up The Land” May 2005
Global TV, Calgary AB interview with John Gulka, Copyright and the Arts, feb. 2004
A Channel, Colours of the Light, The Big Breakfast Show, Oct. 2003
CBC Radio One, Calgary AB interview, “Cutting Up The Town” Sept. 2002
CJSW Radio Interview, June 2001, panel interview for Architectonics, host T. Jonson
CBC Radio One, “Artwalk” The Eye Opener, Interview with Carolyn Smit, 2000
CBC Radio One, Interview: “Transitions: From Still life to Urban Landscape,” Homestretch and the Sunday Morning show; June 99

AWARDS
Nomination for Society of Environmental Design & Graphics, Public Art Award 2011
Alberta Foundation of the Arts Project Grant, 2006
Mayors Luncheon for the Arts, Invitation to join Mayors Table 2006
EMMEDIA Video Scholarship, 2006
Alberta Foundation for the Arts, Project Grant Award, 2005
EMMEDIA Video Scholarship, June 2003
Impressario Grant Award, Calgary Regional Arts Foundation, 2002
Alberta Foundation for the Arts Visual Arts Award, January 2000
Celebration of Women in the Arts Endowment Fund, 1992
Alberta Arts Foundation Award, 1990

RELATED EMPLOYMENT
Alberta College of Art, Extended Studies 2006-2011
Red Deer College Instructor, Series 2006-2011
2008 Public Art Jury, City of Calgary, Urban Transit Corridor Phase 1 ($640,000 budget)
2008 Public Art Jury, City of Calgary, Urban Transit Corridor Phase 2 ($633,000 budget)
2007 Public Art Jury, City of Calgary, Sculpture ($100,000)
Guest Speaker, Calgary Regional Arts Foundation, Annual Conference 2005

EDUCATION & RESIDENCIES
Glasmalerei Peters, Paderborn Germany, 2012
Telus World of Science, Artist Residency, March 2008
Prairie North Residency, Grand Prairie Regional College, AB 2005
Gushul Studio, University of Lethbridge, AB Canada, 2004
Precitia Eyes Mural Resource Center, San Fransisco, USA 2000
London, England with University of Calgary, travel study 1997
Alberta College of Art, AB. 1980-81
Ontario College of Art, ON. 1979-80
Honors Bachelor of Recreation 1977, University of Waterloo, ON. Fine Arts electives

ART VOLUNTEER COMMITMENTS:
This is My City, Calgary July 2012
EAR, Calgary October 2011
Famous Five Foundation, Curator for Art Fundraiser, 2009
Alberta Society of Artists, Executive 2008/2010
CARFAC ALBERTA, Board of Directors 2002-2004
TREKS Travelling Exhibit, Guest Juror for Alberta Society of Artists, June 2002
The NEW Gallery, Programming Committee, October 2001
Artweek/Artwalk, Board of Directors, 2000
Calgary Health Trust, Foothills Hospital Development Council, Art Committee, 2000-2001
Artwalk, Fund Raising Committee, 1999
Alberta Society of Artists, Secretary, 1994-95
CARFAC Delegate to Canadian Artist Representation Convention, Saskatoon, 1990

Barbara Amos Description

Barbara Amos is a visual artist whose projects have involved a variety of materials including paint, steel, textiles, video and photography. Her finished works encourage questions about our role in the world and the changes that will make it a better place. Fragmentation is a recurring theme in her artworks and environmental and cultural issues have been the current focus.

Her most recent project has involved the use of social media to bring attention to environmental issues in southern Alberta. Recently she visited Germany to research architectural glass and was subsequently invited for a 2 week residency. She has developed new media through scholarships and residencies in science centers as well as art galleries and since 2004 has been working with a handmade camera lens. Her drawing and painting skills have culminated in a 20 year exhibition record across North America.

She has completed 3 public art commissions. Her most recent is a 48 foot photographic artwork commissioned for the Royal Alexandra Hospital in Edmonton. Her first public art work was a 90 foot sectional painting for a north Calgary recreation center.

In the past she has been shortlisted for the Pearson Airport International Airport, Toronto, the Calgary International Airport and the NFL Conference Centre in Baltimore.  Her paintings were in the Toronto International Art Show and are featured in many collections including Deloitte, Precision Drilling, Esso Resources, the Alberta Foundation for the Arts. A photo based work is in the US Library of Congress.

 

Barbara Amos Statement

All of my work, paintings, photographs and video, seem to involve themes of transition. Realism is a starting point that moves into fragmenting, restructuring, and dissolving as the paintings move away from their original inspiration.

The Urban Paintings are a response to moving my studio into the centre of downtown Calgary. For 5 1/2 years, I could look out two large windows of an old building that overlooked a central intersection. This corner held the hotel that was favoured by visiting heads of state, the office towers of a huge energy company and a heritage building that was being renovated. My paintings and photographs began with an interest in documentation that became rearranged and distorted, culminating in the 30 foot painting called "Cutting Up The Town", under the Public Art section of this website.

The Camera Works images began as I started to document the city for a video scholarship. The areas that I had painted became moving images for the video "Bent" and those in turn became still images. These video stills form the series called "Bent" and "City Spins".

At the same time, I was using a still camera to photograph the streets at night. I started working with an SLR on a tripod and felt vulnerable by myself in the dark. I left the tripod, altered my settings began to walk. These became the "Street Drawings", which are photographs produced with light as the drawing tool. They record my motion as I move along a street. They make a reference to the old traditions of gesture drawing in a contemporary urban framework. These images were blurred and distorted and again I realized that realism was a departure point for themes of transition.

The Realidoscope Photographs refer to a favoured childhood toy, the kaleidoscope. With the assistance of a grant, I developed a lens which subverts the common point of view by breaking the image apart. It places the viewer in the position of piecing an image back together. This lead to a 48 foot work installed in a public hospital.

After 6 years of working from a studio in the city centre, I felt a need to shift to the land. I became fascinated with the Canadian traditions of landscape painting found myself curious about the northern Ontario images of the Group of Seven. I was born in northern Ontario, and the urban/country teeter totter has always been part of my thinking. This connection surfaced when I was in a residency in the Crowsnest Pass, in Alberta. Eight months later I had moved my studio out of the city and to the edge of the mountains.

The Landscape Paintings began as small en plein aire studies which amused me. I toyed with the great Canadian traditions and clichés. Soon the work surfaced in triptychs and sectional panels that could be rearranged. A body of work emerged that used images related to our National Parks. Some of these paintings have many formats. They can be rearranged in different order, various panels can be turned upside down and some of the paintings have both vertical and horizontal formats. Again the metaphors of transition and change are pervasive. The subject matter changes, the themes remain constant. It comes full circle to the early stages of my work.

In the early years as an artist, I was working from a studio at home. Still Life, with its accompanying vases, was my subject matter. Simple domestic objects that caught the light in certain way or seemed imbued with meaning ended and up as drawing or painting studies. I noticed that a certain beer stein that I liked was exactly the same design to a beer stein that was in one of Chardin's paintings. In a similar way, I connected to the work of Cezanne, Degas and Rembrandt, letting the object catch my attention and lead me into the artist and in turn into the history of painting. Recently this has turned up again in my work as I used the Realidoscope to create still life photographs, which developed into a 48 foot commission for a hospital. Another video scholarship helped me to develop the connections between art history and my fragmented photographs.

 

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