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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 government’s plan will improve access to MRIs and CT scans

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From the Fraser Institute

By Nadeem Esmail and Tegan Hill

The Smith government may soon allow Albertans to privately purchase diagnostic screening and testing services, prompting familiar cries from defenders of the status quo. But in reality, this change, which the government plans to propose in the legislature in the coming months, would simply give Albertans an option already available to patients in every other developed country with universal health care.

It’s important for Albertans and indeed all Canadians to understand the unique nature of our health-care system. In every one of the 30 other developed countries with universal health care, patients are free to seek care on their own terms with their own resources when the universal system is unwilling or unable to satisfy their needs. Whether to access care with shorter wait times and a more rapid return to full health, to access more personalized services or meet a personal health need, or to access new advances in medical technology. But not in Canada.

That prohibition has not served Albertans well. Despite being one of the highest-spending provinces in one of the most expensive universal health-care systems in the developed world, Albertans endure some of the longest wait times for health care and some of the worst availability of advanced diagnostic and medical technologies including MRI machines and CT scanners.

Introducing new medical technologies is a costly endeavour, which requires money and the actual equipment, but also the proficiency, knowledge and expertise to use it properly. By allowing Albertans to privately purchase diagnostic screening and testing services, the Smith government would encourage private providers to make these technologies available and develop the requisite knowledge.

Obviously, these new providers would improve access to these services for all Alberta patients—first for those willing to pay for them, and then for patients in the public system. In other words, adding providers to the health-care system expands the supply of these services, which will reduce wait times for everyone, not just those using private clinics. And relief can’t come soon enough. In Alberta, in 2024 the median wait time for a CT scan was 12 weeks and 24 weeks for an MRI.

Greater access and shorter wait times will also benefit Albertans concerned about their future health or preventative care. When these Albertans can quickly access a private provider, their appointments may lead to the early discovery of medical problems. Early detection can improve health outcomes and reduce the amount of public health-care resources these Albertans may ultimately use in the future. And that means more resources available for all other patients, to the benefit of all Albertans including those unable to access the private option.

Opponents of this approach argue that it’s a move towards two-tier health care, which will drain resources from the public system, or that this is “American-style” health care. But these arguments ignore that private alternatives benefit all patients in universal health-care systems in the rest of the developed world. For example, Switzerland, Germany, the Netherlands and Australia all have higher-performing universal systems that provide more timely care because of—not despite—the private options available to patients.

In reality, the Smith government’s plan to allow Albertans to privately purchase diagnostic screening and testing services is a small step in the right direction to reduce wait times and improve health-care access in the province. In fact, the proposal doesn’t go far enough—the government should allow Albertans to purchase physician appointments and surgeries privately, too. Hopefully the Smith government continues to reform the province’s health-care system, despite ill-informed objections, with all patients in mind.

Nadeem Esmail

Director, Health Policy, Fraser Institute

Tegan Hill

Director, Alberta Policy, Fraser Institute
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Alberta

Canada’s heavy oil finds new fans as global demand rises

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From the Canadian Energy Centre

By Will Gibson

“The refining industry wants heavy oil. We are actually in a shortage of heavy oil globally right now, and you can see that in the prices”

Once priced at a steep discount to its lighter, sweeter counterparts, Canadian oil has earned growing admiration—and market share—among new customers in Asia.

Canada’s oil exports are primarily “heavy” oil from the Alberta oil sands, compared to oil from more conventional “light” plays like the Permian Basin in the U.S.

One way to think of it is that heavy oil is thick and does not flow easily, while light oil is thin and flows freely, like fudge compared to apple juice.

“The refining industry wants heavy oil. We are actually in a shortage of heavy oil globally right now, and you can see that in the prices,” said Susan Bell, senior vice-president of downstream research with Rystad Energy.

A narrowing price gap

Alberta’s heavy oil producers generally receive a lower price than light oil producers, partly a result of different crude quality but mainly because of the cost of transportation, according to S&P Global.

The “differential” between Western Canadian Select (WCS) and West Texas Intermediate (WTI) blew out to nearly US$50 per barrel in 2018 because of pipeline bottlenecks, forcing Alberta to step in and cut production.

So far this year, the differential has narrowed to as little as US$10 per barrel, averaging around US$12, according to GLJ Petroleum Consultants.

“The differential between WCS and WTI is the narrowest I’ve seen in three decades working in the industry,” Bell said.

Trans Mountain Expansion opens the door to Asia

Oil tanker docked at the Westridge Marine Terminal in Burnaby, B.C. Photo courtesy Trans Mountain Corporation

The price boost is thanks to the Trans Mountain expansion, which opened a new gateway to Asia in May 2024 by nearly tripling the pipeline’s capacity.

This helps fill the supply void left by other major regions that export heavy oil – Venezuela and Mexico – where production is declining or unsteady.

Canadian oil exports outside the United States reached a record 525,000 barrels per day in July 2025, the latest month of data available from the Canada Energy Regulator.

China leads Asian buyers since the expansion went into service, along with Japan, Brunei and Singapore, Bloomberg reports

Asian refineries see opportunity in heavy oil

“What we are seeing now is a lot of refineries in the Asian market have been exposed long enough to WCS and now are comfortable with taking on regular shipments,” Bell said.

Kevin Birn, chief analyst for Canadian oil markets at S&P Global, said rising demand for heavier crude in Asia comes from refineries expanding capacity to process it and capture more value from lower-cost feedstocks.

“They’ve invested in capital improvements on the front end to convert heavier oils into more valuable refined products,” said Birn, who also heads S&P’s Center of Emissions Excellence.

Refiners in the U.S. Gulf Coast and Midwest made similar investments over the past 40 years to capitalize on supply from Latin America and the oil sands, he said.

While oil sands output has grown, supplies from Latin America have declined.

Mexico’s state oil company, Pemex, reports it produced roughly 1.6 million barrels per day in the second quarter of 2025, a steep drop from 2.3 million in 2015 and 2.6 million in 2010.

Meanwhile, Venezuela’s oil production, which was nearly 2.9 million barrels per day in 2010, was just 965,000 barrels per day this September, according to OPEC.

The case for more Canadian pipelines

Worker at an oil sands SAGD processing facility in northern Alberta. Photo courtesy Strathcona Resources

“The growth in heavy demand, and decline of other sources of heavy supply has contributed to a tighter market for heavy oil and narrower spreads,” Birn said.

Even the International Energy Agency, known for its bearish projections of future oil demand, sees rising global use of extra-heavy oil through 2050.

The chief impediments to Canada building new pipelines to meet the demand are political rather than market-based, said both Bell and Birn.

“There is absolutely a business case for a second pipeline to tidewater,” Bell said.

“The challenge is other hurdles limiting the growth in the industry, including legislation such as the tanker ban or the oil and gas emissions cap.”

A strategic choice for Canada

Because Alberta’s oil sands will continue a steady, reliable and low-cost supply of heavy oil into the future, Birn said policymakers and Canadians have options.

“Canada needs to ask itself whether to continue to expand pipeline capacity south to the United States or to access global markets itself, which would bring more competition for its products.”

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