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Alberta

Lieutenant Governor of Alberta celebrates ten emerging artists for 2020

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Lieutenant Governor of Alberta celebrates ten emerging artists for 2020

Alberta’s 2020 Emerging Artists named

Edmonton (June 4, 2020)

The Lieutenant Governor of Alberta Arts Awards Foundation today announced awards totaling $100,000 to the 10 recipients of its 2020 Emerging Artist Award.  More than 60 invited guests joined the Zoom awards show, which is now public, and available on the Youtube link above.

“We are pleased to be able to invest in advancing the careers of these outstanding artists at the early stages of their professional development” says Foundation Chair, Arlene Strom. “When economic times are tough, our artists are particularly vulnerable. And in the midst of societal change and upheaval, ensuring our artist voices and perspectives are heard is critical.”

Here are this year’s awardees:

  • Kablusiak, visual, multidisciplinary artist, Calgary
  • Amy LeBlanc, writer, Calgary
  • Luc Tellier, theatre, Edmonton
  • Carlos Foggin, music, classical, Calgary
  • Lauren Crazybull, visual, Edmonton
  • Evan Pearce, multi-media, music, new technology, Edmonton
  • Molly Wreakes, music, French Horn, Edmonton
  • Bruce Cinnamon, writer, Edmonton
  • Tamara Lee-Anne Cardinal, visual, multimedia, Calgary
  • Griffin Cork, theatre and film, Calgary

Her Honour, the Honourable Lois E. Mitchell, CM, AOE, LLD, Lieutenant Governor of Alberta congratulated the awardees on a Zoom meeting June 4, 2020. Each awardee receives a $10,000 cash award, a handcrafted medal and 2020 Emerging Artist certificate.

The 10 recipients were selected from 160 applications in a two-tiered adjudication process overseen by The Banff Centre. The adjudication panel included: Denise Clarke, associate artist, One Yellow Rabbit, 2007 Distinguished Artist awardee;  Adam Fox, Director of Programs, National Music Centre; Lindsey Sharman, curator, Art Gallery of Alberta; Alice Major; writer, poet, 2017 Distinguished Artist awardee.

Here is some background the each of the artists:

Kablusiak (they/them) is an Inuvialuk artist based in Mohkinstsis/Calgary and holds a BFA in Drawing from the Alberta University of the Arts.  Recognition for Kablusiak includes the Alberta Foundation for the Arts Young Artist Prize (2017) and the Primary Colours Emerging Artist Award (2018), and short-list nominee for the Sobey Art Awards (2019).  A multi-disciplinary artist, they imbue a variety of mediums with their trademark ironic humour to address cultural displacement. 

Amy LeBlanc is the author of three books: her debut poetry collection, I know something you don’t know, was published with Gordon Hill Press

in March 2020.  Her novella, Unlocking, will be published by the UCalgary Press in 2021. Pedlar Press will publish her short story collection, Homebodies, in 2022. Her very timely master’s thesis is a work of fiction examining pandemics and chronic illness.

Luc Tellier is a theatre actor, director, and educator from Amiskwaciy Waskahikan, colonially known as Edmonton. He’s been seen in over twenty-five professional productions since graduating from MacEwan University’s Theatre Arts Program in 2014. As an arts educator and through his own freelance workshops, he mentors hundreds of students every year – sharing his belief that the arts are for everyone!

Carlos Foggin is driven by his passion to share live orchestral music with as many Albertans as possible! In 2016, he founded the Rocky Mountain Symphony Orchestra which has since performed to more than 30,000 Albertans in over 50 concerts in small southern communities. He is a celebrated pianist, organist and improviser and has performed internationally on some of the world’s greatest organs.

Lauren Crazybull is a Blackfoot Dene artist living in Edmonton.  In 2019, Lauren was selected as Alberta’s inaugural artist in residence and was long listed for the Kingston Portrait Prize. Through her art, Lauren is asking poignant questions about how Indigenous identities can be represented, experienced, celebrated and understood through portraiture.

Evan Pearce began his career by editing music videos using found footage for local bands, but he’s now on the leading edge of two new emerging technology art forms: VJ-ing and New Media – working at the intersection of music, video, and leading-edge technology. Evan is fascinated with incorporating XR (Extended Reality) and AI (Artificial Intelligence) in a live performance setting while VJing – and beyond.

Molly Wreakes is a classical french horn player originally from Edmonton, who has performed internationally as both a chamber and orchestral musician.  Molly served as the academist with the Royal Stockholm Philharmonic Orchestra In 2018/19 – performing with the orchestra and training with their horn section and orchestra members. Molly is also an avid chamber musician who is inspired to explore community outreach opportunities through music and musical creativity.

Bruce Cinnamon is a writer whose creative work thrives in the radiant sunshine of the gigantic Alberta sky, twisting and bending the familiar prairie landscape into carnivalesque fantasies.  Bruce won the 2015 Alberta Views short story contest; his first novel, The Melting Queen, was published by NeWest Press in 2019. He is currently working on his second novel, a fantasy story about a small Alberta town which suddenly vanishes when it is torn into a parallel universe by a predatory City.

Tamara Lee-Anne Cardinal is a multi-media artist, community activist, and perpetual learner. She is a recipient of the National BMO 1st Art! Competition Award, and of the 2017 Alberta Foundation for the Arts Young Artist Award. Cardinal has been an active member in the urban Indigenous community in Treaty 7 Territory. Her work reflects the teachings she receives along her journey – and invites  others to become a part of the process, to partake in its making.

Griffin Cork is a Calgary-born actor and producer in the film and theatre industries. He is co-founder and Artistic Producer of Hoodlum Theatre, a small collective dedicated to creating disruptive and unabashed work. His company Numera Films took home an AMPIA Rosie Award for Best Web Series – Fiction in 2019 for Abracadaver. Griffin is committed to telling engaging, Albertan stories and strives to merge the mediums of film and theatre.

Backgrounder: About the awards

The late Fil Fraser, the late Tommy Banks, the late John Poole and Jenny Belzberg (Calgary) established the Lieutenant Governor of Alberta Arts Awards Foundation in 2003 to celebrate and promote excellence in the arts. The endowments they established were created with philanthropic dollars and gifts from the Province of Alberta and Government of Canada.

Since its inception in 2003, the Foundation has awarded $1,230,000 to 20 Distinguished Artists and 63 Emerging Artists, all Alberta affiliated.

The Foundation administers two awards programs:

  • The Emerging Artist Awardsprogram, established in 2008, gives up to 10 awards of $10,000 each to support and encourage promising artists early in their professional careers. Emerging Artist Awards are given out in even years.
  • The Distinguished Artist Awardsprogram, begun in 2005, gives up to three awards of $30,000 each in recognition of outstanding achievement in, or contribution to, the arts in Alberta. Distinguished Artist Awards are given in odd years. The 2019 Distinguished Artist Awards celebration will be in Maskwacis, Battle River region in September 21, 2019.

Todayville’s President Lloyd Lewis is a Board Director of the Foundation and was the Master of Ceremonies for this year’s online awards show.

Read more on Todayville.

Todayville is an independently-owned digital media company. We specialize in helping community groups, local businesses and organizations tell their story. Our team has years of media and video production experience. Talk to us about advertising, brand journalism stories, opinion pieces, event promotion, or other ideas you have to make our product better. We also own and operate Todayville Red Deer and Todayville Calgary.

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Alberta

Alberta project would be “the biggest carbon capture and storage project in the world”

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Pathways Alliance CEO Kendall Dilling is interviewed at the World Petroleum Congress in Calgary, Monday, Sept. 18, 2023.THE CANADIAN PRESS/Jeff McIntosh

From Resource Works

By Nelson Bennett

Carbon capture gives biggest bang for carbon tax buck CCS much cheaper than fuel switching: report

Canada’s climate change strategy is now joined at the hip to a pipeline. Two pipelines, actually — one for oil, one for carbon dioxide.

The MOU signed between Ottawa and Alberta two weeks ago ties a new oil pipeline to the Pathways Alliance, which includes what has been billed as the largest carbon capture proposal in the world.

One cannot proceed without the other. It’s quite possible neither will proceed.

The timing for multi-billion dollar carbon capture projects in general may be off, given the retreat we are now seeing from industry and government on decarbonization, especially in the U.S., our biggest energy customer and competitor.

But if the public, industry and our governments still think getting Canada’s GHG emissions down is a priority, decarbonizing Alberta oil, gas and heavy industry through CCS promises to be the most cost-effective technology approach.

New modelling by Clean Prosperity, a climate policy organization, finds large-scale carbon capture gets the biggest bang for the carbon tax buck.

Which makes sense. If oil and gas production in Alberta is Canada’s single largest emitter of CO2 and methane, it stands to reason that methane abatement and sequestering CO2 from oil and gas production is where the biggest gains are to be had.

A number of CCS projects are already in operation in Alberta, including Shell’s Quest project, which captures about 1 million tonnes of CO2 annually from the Scotford upgrader.

What is CO2 worth?

Clean Prosperity estimates industrial carbon pricing of $130 to $150 per tonne in Alberta and CCS could result in $90 billion in investment and 70 megatons (MT) annually of GHG abatement or sequestration. The lion’s share of that would come from CCS.

To put that in perspective, 70 MT is 10% of Canada’s total GHG emissions (694 MT).

The report cautions that these estimates are “hypothetical” and gives no timelines.

All of the main policy tools recommended by Clean Prosperity to achieve these GHG reductions are contained in the Ottawa-Alberta MOU.

One important policy in the MOU includes enhanced oil recovery (EOR), in which CO2 is injected into older conventional oil wells to increase output. While this increases oil production, it also sequesters large amounts of CO2.

Under Trudeau era policies, EOR was excluded from federal CCS tax credits. The MOU extends credits and other incentives to EOR, which improves the value proposition for carbon capture.

Under the MOU, Alberta agrees to raise its industrial carbon pricing from the current $95 per tonne to a minimum of $130 per tonne under its TIER system (Technology Innovation and Emission Reduction).

The biggest bang for the buck

Using a price of $130 to $150 per tonne, Clean Prosperity looked at two main pathways to GHG reductions: fuel switching in the power sector and CCS.

Fuel switching would involve replacing natural gas power generation with renewables, nuclear power, renewable natural gas or hydrogen.

“We calculated that fuel switching is more expensive,” Brendan Frank, director of policy and strategy for Clean Prosperity, told me.

Achieving the same GHG reductions through fuel switching would require industrial carbon prices of $300 to $1,000 per tonne, Frank said.

Clean Prosperity looked at five big sectoral emitters: oil and gas extraction, chemical manufacturing, pipeline transportation, petroleum refining, and cement manufacturing.

“We find that CCUS represents the largest opportunity for meaningful, cost-effective emissions reductions across five sectors,” the report states.

Fuel switching requires higher carbon prices than CCUS.

Measures like energy efficiency and methane abatement are included in Clean Prosperity’s calculations, but again CCS takes the biggest bite out of Alberta’s GHGs.

“Efficiency and (methane) abatement are a portion of it, but it’s a fairly small slice,” Frank said. “The overwhelming majority of it is in carbon capture.”

From left, Alberta Minister of Energy Marg McCuaig-Boyd, Shell Canada President Lorraine Mitchelmore, CEO of Royal Dutch Shell Ben van Beurden, Marathon Oil Executive Brian Maynard, Shell ER Manager, Stephen Velthuizen, and British High Commissioner to Canada Howard Drake open the valve to the Quest carbon capture and storage facility in Fort Saskatchewan Alta, on Friday November 6, 2015. Quest is designed to capture and safely store more than one million tonnes of CO2 each year an equivalent to the emissions from about 250,000 cars. THE CANADIAN PRESS/Jason Franson

Credit where credit is due

Setting an industrial carbon price is one thing. Putting it into effect through a workable carbon credit market is another.

“A high headline price is meaningless without higher credit prices,” the report states.

“TIER credit prices have declined steadily since 2023 and traded below $20 per tonne as of November 2025. With credit prices this low, the $95 per tonne headline price has a negligible effect on investment decisions and carbon markets will not drive CCUS deployment or fuel switching.”

Clean Prosperity recommends a kind of government-backstopped insurance mechanism guaranteeing carbon credit prices, which could otherwise be vulnerable to political and market vagaries.

Specifically, it recommends carbon contracts for difference (CCfD).

“A straight-forward way to think about it is insurance,” Frank explains.

Carbon credit prices are vulnerable to risks, including “stroke-of-pen risks,” in which governments change or cancel price schedules. There are also market risks.

CCfDs are contractual agreements between the private sector and government that guarantees a specific credit value over a specified time period.

“The private actor basically has insurance that the credits they’ll generate, as a result of making whatever low-carbon investment they’re after, will get a certain amount of revenue,” Frank said. “That certainty is enough to, in our view, unlock a lot of these projects.”

From the perspective of Canadian CCS equipment manufacturers like Vancouver’s Svante, there is one policy piece still missing from the MOU: eligibility for the Clean Technology Manufacturing (CTM) Investment tax credit.

“Carbon capture was left out of that,” said Svante co-founder Brett Henkel said.

Svante recently built a major manufacturing plant in Burnaby for its carbon capture filters and machines, with many of its prospective customers expected to be in the U.S.

The $20 billion Pathways project could be a huge boon for Canadian companies like Svante and Calgary’s Entropy. But there is fear Canadian CCS equipment manufacturers could be shut out of the project.

“If the oil sands companies put out for a bid all this equipment that’s needed, it is highly likely that a lot of that equipment is sourced outside of Canada, because the support for Canadian manufacturing is not there,” Henkel said.

Henkel hopes to see CCS manufacturing added to the eligibility for the CTM investment tax credit.

“To really build this eco-system in Canada and to support the Pathways Alliance project, we need that amendment to happen.”

Resource Works News

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Alberta

Alberta Next Panel calls for less Ottawa—and it could pay off

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From the Fraser Institute

By Tegan Hill

Last Friday, less than a week before Christmas, the Smith government quietly released the final report from its Alberta Next Panel, which assessed Alberta’s role in Canada. Among other things, the panel recommends that the federal government transfer some of its tax revenue to provincial governments so they can assume more control over the delivery of provincial services. Based on Canada’s experience in the 1990s, this plan could deliver real benefits for Albertans and all Canadians.

Federations such as Canada typically work best when governments stick to their constitutional lanes. Indeed, one of the benefits of being a federalist country is that different levels of government assume responsibility for programs they’re best suited to deliver. For example, it’s logical that the federal government handle national defence, while provincial governments are typically best positioned to understand and address the unique health-care and education needs of their citizens.

But there’s currently a mismatch between the share of taxes the provinces collect and the cost of delivering provincial responsibilities (e.g. health care, education, childcare, and social services). As such, Ottawa uses transfers—including the Canada Health Transfer (CHT)—to financially support the provinces in their areas of responsibility. But these funds come with conditions.

Consider health care. To receive CHT payments from Ottawa, provinces must abide by the Canada Health Act, which effectively prevents the provinces from experimenting with new ways of delivering and financing health care—including policies that are successful in other universal health-care countries. Given Canada’s health-care system is one of the developed world’s most expensive universal systems, yet Canadians face some of the longest wait times for physicians and worst access to medical technology (e.g. MRIs) and hospital beds, these restrictions limit badly needed innovation and hurt patients.

To give the provinces more flexibility, the Alberta Next Panel suggests the federal government shift tax points (and transfer GST) to the provinces to better align provincial revenues with provincial responsibilities while eliminating “strings” attached to such federal transfers. In other words, Ottawa would transfer a portion of its tax revenues from the federal income tax and federal sales tax to the provincial government so they have funds to experiment with what works best for their citizens, without conditions on how that money can be used.

According to the Alberta Next Panel poll, at least in Alberta, a majority of citizens support this type of provincial autonomy in delivering provincial programs—and again, it’s paid off before.

In the 1990s, amid a fiscal crisis (greater in scale, but not dissimilar to the one Ottawa faces today), the federal government reduced welfare and social assistance transfers to the provinces while simultaneously removing most of the “strings” attached to these dollars. These reforms allowed the provinces to introduce work incentives, for example, which would have previously triggered a reduction in federal transfers. The change to federal transfers sparked a wave of reforms as the provinces experimented with new ways to improve their welfare programs, and ultimately led to significant innovation that reduced welfare dependency from a high of 3.1 million in 1994 to a low of 1.6 million in 2008, while also reducing government spending on social assistance.

The Smith government’s Alberta Next Panel wants the federal government to transfer some of its tax revenues to the provinces and reduce restrictions on provincial program delivery. As Canada’s experience in the 1990s shows, this could spur real innovation that ultimately improves services for Albertans and all Canadians.

Tegan Hill

Director, Alberta Policy, Fraser Institute
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