Derek Brueckner’s Interview with Dan Donaldson and John White
Dan Donaldson Art Imitating Life Imitating Art
Installation at Ace Art
Nov 2007
In terms of Donaldson’s exhibition of paintings at Ace Art “Art Imitating Life Imitating Art” I visited the exhibition three times and documented his work for notes, I realized that so far my critical distance essay “The Post-Bolshevic” was primarily written about the Student Bolshevic Collective but I did not go into great length discussing Donaldson’s work in the show.
Dan Donaldson Art Imitating Life Imitating Art
Installation at Ace Art (East Wall)
Nov 2007
Due to my emphasis on the Bolshevics I felt compelled to meet with him for an interview that could potentially be posted on line in addition to the critical distance essay. After telling Donaldson this he felt it was important for me to meet with him and John White for a conversation.
Dan Donaldson Art Imitating Life Imitating Art
Installation at Ace Art (West Wall)
Nov 2007
Here are some non-linear excerpts and fragments from that conversation on Sat Dec 22 in Donaldson and White’s Winnipeg studio:
DB (Derek Brueckner): So describe to me some of the processes about the Bolshevics in relation to Painting.
DD (Dan Donaldson): I would categorize them as unconventional and nonconformist processes that are also experimental.
JW (John White): John Higham commented to me that when he ran out of paint he just stopped but he noticed when I ran out of paint I turned to glue and mud.
DB: Were there any teachers that come to mind for either of you?
JW: I liked Alex Brunning’s approach to teaching. He was always very clear in terms of when something worked or when nothing was happening in my work. He was brutally direct and never minced words. As good a teacher as Alex was, I still do not think passion at any art school can be taught, the student has the passion or not.
DB: So explain to me a bit about who the Student Bolshevics were as a collective.
DD: Well the people that were involved at some point or another were myself, Bunny AKA: John White (Winnipeg), John Higham (Kangirsuk), Veronica Lajambe (Los Angeles), M.A. Peers (Los Angeles), Doug Harvey (Los Angeles), Karen Justl (Toronto), Kerry Moffat (Vancouver), Rob Kelly (Chicago), Zena Sakowski (Chicago), Ralph Dueck (Winnipeg), Mike Jacobson (Winnipeg) Gord Wilding (Winnipeg) Mike Waterman (Guelf) and Christine Siemens (Los Angeles/recently relocated to Portland)
DB: Was there anyone else involved?
DD: There were many people that had brief associations to the Bolshevics.
Unfortunately some people completely made up connections to the Bolshevics or exaggerated their connections. Some would make up shows that were not really happening which would be attributed to the Bolshevics but would not have anything to do with us. So certain people were saying they were part of collective when they were not. They certainly would have been welcomed if they just asked to participate and offered to contribute in some way such as bringing some beer.
The Bolshevics were really a non-group that was an impermanent gallery space that would temporarily pop up at various spaces and would show work, not unlike the Dadaists and their temporal activities and spaces.
DB: Who keeps in touch from the Bolshevics?
DD: Well Doug Harvey, Mike Jacobson and Mike Waterman collectively work together on the The Mannlicher Carcano Radio Hour can be heard live most every Saturday 2 Winnipeg time at www.cfru.ca.
DB: I remember a couple of the Bolshevic shows, how did it all work in terms of curating and installation?
JW: First come first serve, for some people it was 5 minutes before the opening and they would hang the work wet or dry as long as there was space.
DB: So in some ways that was the curatorial thesis of the shows?
JW: Yes, there was a loose theme to each show and people either chose to follow the theme or not. It really became about whether there was enough space but the work still had to be good.
DD: The late Walter Lewyc would advertise the shows and we would always end up with a good crowd of people attending.
DB: So getting to your work Dan, I noticed in the generously sized reclining female figure…
Dan Donaldson Bordello Fantasy
Oil on canvas
2007
JW: You mean the Brazilian Prostitute [Bordello Fantasy] painting where Dan was originally going to use sumo wrestlers, which ended up being the frog.
DD: The frog just came from a Life book, I had never painted a frog and the image just interested me. The crown just came to me.
DB: Oh ok yes the Brazilian Prostitute, well besides for me the reference to Manet’s Olympia that work of yours is a painting with more control than the other paintings in the show.
DD: The preciseness of the painting style and brushwork began with doing the drapery and it just continued into the rest of the painting. Overall my painting does not have one style.
DB: So what are the early influences of your approaches to Painting?
DD: In High school I had a vocational commercial art training, which was a strong influence. I think that has always influenced me in terms of how to organize shape and colour. Colour Field painting also plays a part in combination to various images in my work.
DB: For me Robert Rauschenberg and James Rosenquist show up as definite references.
DD: Yes them and Jasper Johns as well and I also tried to paint like Pollock during my early years at Art School.
JW: Yeah there was also the influence of early Pollock Jungian type paintings.
DB: So all of these artists influenced or anticipated the free association of the later work at the Ace show.
DD: Yes sure in some ways.
DB: So what do you think about writing that discusses painting?
DD: Writing about artwork is hard…yeah it is just better to make it.
JW: Painting is a visual medium and of course it is hard to write about it. A person can write the world blue. But can they see it like a painter sees blue?
Dan Donaldson Art Imitating Life Imitating Art (Detail View)
Oil on canvas
2007
(The conversation then breaks down into momentary chaos and White alludes to a quote by Ad Reinhardt "Sculpture? - something you back into while looking at painting." Then there were some free association sentences about pickled eggs and Amself Kiefer. Donaldson then brings back some order to the conversation with another question.)
DD: Do you know about the Cappy Dick show?
DB: Was that a Bolshevic show?
DD: No that was a show that John and I did.
DB: I suspect that the three of us agree that art practice outside of painting is important and meaningful but I think we also agree that the whole notion of painting as dead is nonsense. What can you offer in terms of the paradigm of painting?
DD: Painting is a solitary process. You have to rely on intuition during the process, the painting starts to tell you what to do. While in the moment of the painting process it is the hunt for good painting and it is the adding and subtracting process of paint and other materials that really matters. The end product in many ways is secondary.
JW: Then you get a 1 x 2 from Home Depot paint it in black…that makes a great frame to finish things off.
DD: So is there anything you would like to know about me?
DB: On one of the walls at Ace there is the large work where various sized canvases are all unevenly joined as modules to construct a whole installation? What is your reasoning behind that presentation format?
DD: That large piece is continuum at times involving fun, humor, chaos, and people and treating each other viciously, but all of it and the other paintings are primarily about the free association of images. Sometimes it is about taking an image and simply and arbitrarily re-contextualizing it.
DB: So then the image was always there and you just re-used it?
DD: Art is Life, Life is Art and so on….The work is rooted in Bolshevic’s ideas about making art: idea and process is more important than the object making.
Free association can also be a play on of words including the phrase Art is Life, Life is Art as being a cliché. Life and Art have many definitions that become character with lives of their own. Everything is so uncertain just as in the beginning of the painting process and of life itself.
DB: Your saying then that this large work and the entire show’s theme in general relates to the idea that the exhibition has no beginning or end?
DD: Yes the work in the show began over 15 years ago and then stopped because I had a family and then I started it up again. The work and the large piece will continue until something in my life stops me from working again or when my life is over. Art should not be a chore
DB: What are your beliefs in relation to religion?
DD: I was raised a Scottish Catholic and am now an atheist.
DB: Overall is there anything specific that you want the viewer to get from your work?
DD: My hope is for the viewer to have an experience that has an immediate visual impact. The exhibition and my work in general is something that I hope consumes and or will overwhelm the audience in a positive way. I want people to have same reaction and feelings when I am making the work. So very gratifying when people get that experience from the work.
JW: The work is comparable to a Visual Buffet
DB: So I would like one last comment from you. What would you like to offer as your concluding comment?
DD: I hope the Bolshevic’s ideas will keep on festering.
The Post-Bolshevic (oh no…not another prefixed word)
Critical Distance Writing by Derek Brueckner in response to the Dan Donaldson Exhibition at Ace Art ART IMITATING LIFE IMITATING ART 26th October - 24 November 2007
In addition to the critical distance essay for Dan Donaldson's exhibition which is now available in print form at Ace Art there is also an interview with Dan Donaldson and John White posted above on this blog. Once again thank you all for your patience in waiting for the posting of these written works.
In addition to the critical distance essay for Dan Donaldson's exhibition which is now available in print form at Ace Art there is also an interview with Dan Donaldson and John White posted above on this blog. Once again thank you all for your patience in waiting for the posting of these written works.
Links for Derek Brueckner's Written Work:
Critical Distance Writing by Derek Brueckner in response to the Ron Gorsline solo exhibition LIGHT SHADOW DARK at Ace Art 1998
http://www.aceart.org/archives/cd/cd97/CD_98_brueckner.html
http://www.aceart.org/archives/cd/cd97/CD_98_brueckner.html
Some Links for Derek Brueckner's Art Practice:
Art exhibit's instructional and conceptual aims partly foiled. The Manitoban Review of the exhibition LIVE DRAWINGS at Plug-In Institute of Contemporary Art by Kevin Mathews 1998
http://themanitoban.com/1997-1998/0114/arts.html#a1
Critical Distance Writing by Grant Guy in response to the Derek Brueckner solo exhibition THEATRE OF PAINT at Ace Art 2000
http://www.aceart.org/archives/cd/cd99/CD_00_guy.html
NY Theatre Archive for 2002 NYC Fringe review of CONFESSIONS OF AN ART SCHOOL MODEL at the Collective Unconscious by Michael Criscuolo
http://www.nytheatre.com/nytheatre/archweb/fringe2002_r05.htm
Irving Sandler Artists File Online 2007
http://afonline.artistsspace.org/view_artist.php?aid=7491
The Body: Aesthetics, Culture, Politics. Writing by Dr. Mark Betz in response to the Derek Brueckner solo exhibition
RE/SEARCHING THE FIGURAL at Main Access Gallery 1993
http://www.derekbrueckner.com/thebody.html
http://themanitoban.com/1997-1998/0114/arts.html#a1
Critical Distance Writing by Grant Guy in response to the Derek Brueckner solo exhibition THEATRE OF PAINT at Ace Art 2000
http://www.aceart.org/archives/cd/cd99/CD_00_guy.html
NY Theatre Archive for 2002 NYC Fringe review of CONFESSIONS OF AN ART SCHOOL MODEL at the Collective Unconscious by Michael Criscuolo
http://www.nytheatre.com/nytheatre/archweb/fringe2002_r05.htm
Irving Sandler Artists File Online 2007
http://afonline.artistsspace.org/view_artist.php?aid=7491
The Body: Aesthetics, Culture, Politics. Writing by Dr. Mark Betz in response to the Derek Brueckner solo exhibition
RE/SEARCHING THE FIGURAL at Main Access Gallery 1993
http://www.derekbrueckner.com/thebody.html
Brueckner presents on a panel at the 2008 Annual College Art Association Conference in Dallas
http://conference.collegeart.org/sessions2008/sessions08.html
The Search for Vision's Body: The Role of Touch in the Practice of Painting and Architecture
Wednesday, February 20, 2:30 PM–5:00 PM
Houston Ballroom C, 3rd Floor, Adam's Mark Hotel
Chairs: Thomas Berding, Michigan State University; Sanda Illiescu, University of Virginia
The Tactility of Vision; or, Experiencing Painting and Sculpture in Scarpa’s Castelvecchio and Canoviano Galleries
Nathaniel Coleman, New Castle University
Trace and Artifice
Jill Moser, independent artist, New York
Threshold Connections: Dialectics of Cybernetic Dematerialization and the Physicality of Painting
Derek Brueckner, University of Manitoba
In Search of the Tactilists: A Survey of Contemporary Haptic Aesthetes
Jennifer Justice, independent scholar, Chicago
Touch Is Essential: The "magic of the real world" in the Work of Peter Zumthor
Phoebe Crisman, University of Virginia
Discussant: Scott Poole, Virginia Tech
The Search for Vision's Body: The Role of Touch in the Practice of Painting and Architecture
Wednesday, February 20, 2:30 PM–5:00 PM
Houston Ballroom C, 3rd Floor, Adam's Mark Hotel
Chairs: Thomas Berding, Michigan State University; Sanda Illiescu, University of Virginia
The Tactility of Vision; or, Experiencing Painting and Sculpture in Scarpa’s Castelvecchio and Canoviano Galleries
Nathaniel Coleman, New Castle University
Trace and Artifice
Jill Moser, independent artist, New York
Threshold Connections: Dialectics of Cybernetic Dematerialization and the Physicality of Painting
Derek Brueckner, University of Manitoba
In Search of the Tactilists: A Survey of Contemporary Haptic Aesthetes
Jennifer Justice, independent scholar, Chicago
Touch Is Essential: The "magic of the real world" in the Work of Peter Zumthor
Phoebe Crisman, University of Virginia
Discussant: Scott Poole, Virginia Tech
Not sure what this will lead to
This is my very first Blog page and first Blog posting. I am not sure if another Blog in the cybernetic world is necessary, but here it is. In some ways I have begun this Blog out of curiosity as well having another forum to discuss my thoughts, ideas in relation to the visual arts, design, perhaps some theory/writings and post various visual information.
I suspect this Blog will not be that active but only time will tell for certain.
So in the meantime I ask for your patience.
Please feel free to post comments or for potential postings email text along with the option of related images.
I suspect this Blog will not be that active but only time will tell for certain.
So in the meantime I ask for your patience.
Please feel free to post comments or for potential postings email text along with the option of related images.
Derek Brueckner Artist CV (3 pages) Dec 2023
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EDUCATION
1991 MFA Hunter College,
City University of New York, Department
of Art, New York, NY Areas of Concentration: Painting,
Drawing, Theory and Criticism
1988 BFA (HONOURS) University of Manitoba, School of Art, Winnipeg, MB Canada
EXHIBITIONS/PERFORMANCES
SOLO EXHIBITIONS and PERFORMANCE PROJECTS (selected)
2018 - 2023 New Orleans Jazz Museum “Social Improvisations I (2018), II (2019), III (2021), IV (2022) & V” (2023) Creator of Installation and Unscripted Collaborative Performance, New Orleans, LA
(2018 & 2022 with Ryuta Iwashita) (2019 with Teresa Ancasceo) (2021 & 2023 with Reese Johanson)
2019 Urban Shaman Gallery “The Poetic Preparator” Pop-Up Performance with Theo Pelmus and musicians Ashley Au, Stuart Desnomie and Shereen Ramprashad (not part of Urban Shaman regular programming) Winnipeg, MB
2017 Art Klub Collaborative Studio, Creator of Installation and Unscripted Collaborative Performance,
New Orleans, LA (with Ryuta Iwashita, Reese Johanson and Meryl Murman)
2013 3rd Eye (Sol)ation “The Geometers” Exhibition and Unscripted Collaborative Performance, Brooklyn, NY (Brooklyn performance Heraldo Mercado and DS Lee + Winnipeg rehearsal Ian Mozdzen)
2012 Local Project “Nude Super Hero Karaoke Show” Exhibition and Unscripted Collaborative Performance, Long Island City, NY (performance Ian Mozdzen, DS Lee & Miss Lindsay)
2011 Semai Gallery “Paintings of Performance” Winnipeg, MB
2003 <SITE> Gallery “Stages” Exhibition and Performance, Winnipeg, MB
2000 Ace Art “Theatre of Paint” Exhibition and Performance, Winnipeg, MB
1998 Plug In ICA “Live Drawings” Exhibition and Performance, Winnipeg, MB
TWO PERSON PERFORMANCES
2001-2003 “Confessions of an Art School Model” (Two-person play – performed, written & directed by Talia Pura)
Glenn Morris Studio 2003 Toronto Fringe Theatre Festival, Toronto, ON
Collective Unconscious 2002 NY International Fringe Festival, New York, NY
Red Eye Theatre 2002 Minnesota Fringe Theatre Festival, Minneapolis, MN
<SITE> Gallery 2001 Winnipeg Fringe Theatre Festival, Winnipeg, MB
GROUP EXHIBITIONS & PERFORMANCES (selected)
2023 Graffiti Gallery & Space)doxa Programming “Improvised Associations”, performance with Ian Mozdzen, Gage Salnikowski, Shereen Ramprashad and Ashkan Nejadebrahimi, Curated by Anthony Valade Winnipeg, MB
Ace Art Members Exhibition, Video of “DUO”, collaboration with Shereen Ramprashad
Ace Art “People Figure II & III”, collaborative drawing & dance performance, dancers: Ian Mozdzen, Shayla Rudd, Sophie Milord and artists: Ashkan Nejadebrahimi, Rob Sims, Karen Armstrong and Jeff Peeling Winnipeg, MB
2022 Moberly Arts Centre + Plastic Orchid Factory “Interplay 2022” online performance “DUO” with Shereen
Ramprashad and Ashkan Nejadebrahimi Vancouver, BC
Artscape Gibraltar Point Open Studios & Exhibition for Luminous Bodies Residency, Toronto, ON
Graffiti Gallery “Duo Prologue”, performance with Shereen Ramprashad & Ashkan Nejadebrahimi Winnipeg, MB
Ace Art “People Figure”, collaborative drawing & dance performance, collaboration with Ian Mozdzen,
D-Anne Kuby, Carol-Ann Bohrn, Shereen Ramprashad, and Rob Sims Winnipeg, MB
2015 MOCA Geffen Contemporary Video displayed at LA Art Book Fair Los Angeles, CA
2010 Plug In ICA “Summer Institute Residency,” Installation and Collaborative Performance with Ian Mozdzen &
Shereen Ramprashad Winnipeg, MB
2008 Gallery 1.1.1. “Revolver” (Live Drawing Performance) Curated by Cliff Eyland Winnipeg, MB
2006 Ace Art “Videothon 2” One Night Members Screening, Winnipeg, MB
2005 Ace Art “Videothon” One Night Members Screening, Winnipeg, MB
page 1
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FILM FESTIVAL SCREENINGS AND AWARDS for “BLANKET”
2023 Cannes Indepdendent Film Festival, France*- Screened online in Shorts Block 5
Berlin Short Film Festival, Germany Screened live at Berlin Aug 5 at 20:00 in Shorts Block
Kollywood International Film Festival, India Special Jury Award for Best Experimental Short Film (April)
The IndieFEST Film Awards, USA Award of Recognition for Experimental Short Film (May)
Bloody Hats Film Festival, Germany
Hercules Independent Film Festival, Spain
Milan Shorts Film Festival, Italy Selected as Finalist for Best Experimental Short Film
New Lotus International Film & Script Festival, Greece Selected as Semi-Finalist for Best Experimental Film
Sittannavasal International Film Festival, India Special Mention Award for Best Experimental Short Film (March Award)
Sarvin International Film Festival, India Winner Best Experimental Short Film (May Winner)
Busan Short - Feature Film Festival, Korea Winner Best Experimental Short Film (May)*
Durban International Short Film Festival, South Africa Winner for Best Experimental Short Film (April Winner)*
Tekka International Film Festival, Singapore Winner Best Experimental Short Film (April Winner)*
Dubai Film Awards, United Arab Emirates Winner for Best Experimental Short Film (April Winner)*
Bhutan International Short Film Festival, Bhutan Special Mention Award for Best Experimental Short Film (May Award)*
Qatar Independent Film Festival, Qatar Winner Best Experimental Short Film (May Winner)*
(Online film festivals*)
VISITING ARTIST / LECTURES & PANELS (selected)
2023 James Madison University, Zoom Presentation for MFA seminar course, Harrisonburg, VA
2022 University of Toronto, Zoom Presentation for Art for Social Change course, Toronto, ON
2021 Red Rocks Community College, Zoom Presentation for Painting 1 course, Denver, CO
2020 Winnipeg Contemporary Dancers, Moderator for post-performance discussion with Montreal choreographer Mélanie Demers and performers for “Animal Triste”, Winnipeg, MB
University of Manitoba, Desautels Faculty of Music Winnipeg, MB
Guest speaker presentation of time-based work in Orjan Sandred’s Composition Seminar
2018 Annual Universities Art Association of Canada Conference, Waterloo, ON Presentation and panel discussion for “The Conceptual Body: Representation, Presence and Absence in Contemporary Painting”
2015 College of the Atlantic, Presentation to faculty, students and community, Bar Harbor, ME
2008 Annual College Art Association Conference, Dallas, TX Presentation and panel discussion “The Search for Vision’s Body: The Role of Touch in Painting and Architecture”
2005 Dominican University, Department of Art, Chicago, IL PowerPoint and video presentation / lecture to students and faculty Contact person: Jefferey Cote de Luna
2004 National Academy of Design, School of Fine Arts, New York, NY PowerPoint presentation / lecture to students and faculty
2001 & 1998 The School of the Art Institute of Chicago, Chicago, IL
Slide and video lecture to undergraduate students in painting class
Contact person: Dan Gustin
SUMMER RESIDENCIES (selected)
2022 & 2019 Artscape Gibraltar Point Luminous Bodies Art Residency, Toronto Islands, ON
2017 ART Klub Artist in Residence, New Orleans, LA
2017 Vermont Studio Center Johnson, VT http://vermontstudiocenter.org/
Rotating Jury Selection Process (Also selected in 2011, 2010, 2008, 2007, 2003, 1998)
2016 Ace Art Project Space/Flux Space, Winnipeg, MB (also in 2013)
2014 Reis Studios Long Island City (Queens), NY http://www.reisstudios.com
2013 Residency Unlimited Brooklyn, NY http://residencyunlimited.org/residencies/derek-brueckner/
page 2
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MEDIA COVERAGE & REVIEWS (selected)
2021 Nov 22 OffBeat Magazine, “Sound Collage Features Experimental Art and Music Installations at
The New Orleans Jazz Museum” New Orleans, LA https://www.offbeat.com/news/sound-collage/
2018 Sept 4 Winnipeg
Free Press, “Examining the role of today's art school,” Alison Gilmor
2017 July 25 NOLA Defender, “At the Threshold of the Visible,” Hee-Jung Joo, New Orleans, LA
2017 Jan 30 Winnipeg Free Press, “Dry-eyed, weeping and the space in between,” Alison Gilmor
2014 Dec 2 Gothamist, “Brooklyn Gallery Owner Had Artists Create Dolls For Sister,” Angely Mercado
(Drawing reproduced in exhibition review): http://gothamist.com/2014/12/02/dolls_williamsburg_sister.php#photo-2)
2013 Sept 4 Winnipeg Free Press, “Modern artists diversify means of expression,” Sarah Swan
https://www.winnipegfreepress.com/local/modern-artists-diversify-means-of-expression-222299161.html
2012 Dec Queens Courier Magazine, Work reproduced on magazine’s cover and table of contents, Queens, NY, http://derekbrueckner.com/images/queens_courier_magazine_cover.jpg
2008 Dec 14 Winnipeg Free Press, “Artist explores intersection of tradition and technology,” Stacey Abramson, http://derekbrueckner.com/images/Free%20Press%20%20Review%20Dec%2014%202008%20final%2 0versionflattened%20compressedadjusted%20levels.jpg
2002 Aug 13 NYTheatre.com, “Confessions of an Art School Model,” NYC Fringe Review, Michael Criscuolo
2002 June 7 A Channel TV Broadcast, Interview for “Stages” Exhibition, Winnipeg, MB
2001 Sept 29 Winnipeg Free Press, “The Butt Stops Here”, Caroline Vessely
2001 July 23 Winnipeg Free Press, “A riveting show about taking it all off”, Morley Walker
2000 June 22 Uptown Magazine, “Art in Action”, Marnie Butvin
1998 Jan 14 The Manitoban, “Art exhibition’s instructional and conceptual aims partially foiled”, Kevin Mathews
1998 Jan 13 The Globe and Mail, “Naked Truth: Crowds flock to see artist drawing human figures,” Robert Enright
1994 Winter Border Crossings Magazine, “Uncertain Bodies,” Sigrid Dahle
OTHER PROFESSIONAL EXPERIENCE
UNIVERSITY TEACHING EXPERIENCE (selected)
1998 – present School of Art, University of Manitoba
Teaching experience at the rank of Sessional Instructor (part-time 19yrs - 1998 to 2017)
Teaching experience at the rank of Instructor 1 - teaching position – non research (full-time last 5yrs - 2018 to present) Continue to teach a range of studio courses (including Video, Digital Media (Digital Essentials), Interdisciplinary Studio, Open Media, Visual Language, Painting and Drawing)
OTHER TEACHING EXPERIENCE (selected)
1988 - 2017 Winnipeg Art Gallery Studio Programs Instructor for adult & teens courses in painting,
drawing, adult figure drawing and portfolio development.
2019 Sisler High School Winnipeg, MB (as well as 2018 & 2016)
Digital Drawing Workshop with stylus pen and tablet
2007 - 2009 Arts and Culture Industries Winnipeg, MB
Mentoring emerging artists (Oct 2007 – May 2008, Oct 2008 – May 2009)
COMMUNITY ENGAGEMENT
2019-present Board of Directors, GroundSwell: Experimental New Music Programming, Winnipeg, MB
2010-present Radio Co-Host, Eat Your Arts and Vegetables, Weekly arts talk radio show, CKUW 95.9 FM,
University of Winnipeg http://eatyourartsandvegetables.blogspot.com/
2016 Juror, Manitoba Arts Council, Artist in Community Residency Program, Winnipeg, MB
MAC juror also for primarily visual arts programs in 1992, 1999, 2001, 2011 & 2015
2011-2015 Board of Directors, Urban Shaman Gallery: Contemporary Aboriginal Art, Winnipeg, MB
1992-2000 Board of Directors, Ace Art, non-profit artist-run centre, Winnipeg, MB
(held various executive positions including President of the Board of Directors)
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