The Walker Cultural Leader Series continues featuring Jonathan Forrest, abstract painter
Monday, Feb. 1 at 7 p.m.
Watch the video premiere on the Marilyn I. Walker School of Fine and Performing Arts YouTube channel.
Jonathan Forrest is an abstract painter based on Vancouver Island, British Columbia. He divides his studio time between Vancouver Island and small town Saskatchewan. He was born in Edinburgh, Scotland and immigrated with his family to Canada in 1977.
Forrest studied at the University of Saskatchewan receiving his BFA in 1983 and his MFA in 1991. Jonathan has participated in several artists’ workshops including The Emma Lake Artists’ Workshop (1985, 1988, 1991, 2001, 2003, 2005, 2007, 2009, and 2012), The “Saskatchewan Invitational artists’ workshop”, Emma Lake (2000), and Triangle Artists’ Workshop, Brooklyn, NY (2002). His work has been shown in Western Canada in museums including the Mendel Art Gallery, Saskatoon, The Edmonton Art Gallery and The Dunlop Art Gallery, Regina. He has an upcoming survey exhibition at the Art Gallery of Swift Current in 2021 and the Moose Jaw Museum and Art Gallery (2022). Public collections include the Art Gallery of Alberta, Canada Council / Art Bank, Dunlop Art Gallery, Glenbow Museum, Mackenzie Art Gallery, Nordstroms, Remai Modern, Robert McLaughlin Gallery, Saskatchewan Arts Board, University of Lethbridge and the University of Saskatchewan.
To learn more about Jonathan Forrest and his work, please visit his website.
widespread perception of a school-to-prison pipeline for young African American men. It’s the story of a black teacher’s struggle to protect her son, Omari, after he assaults his high school teacher for aggressively singling him out to answer why a book character behaved like an “animal” and murdered a woman.
against him. The title refers to the widespread perception of a school-to-prison pipeline for young African-American men.
Horacio Fernández first wrote Fotografía Pública (MNCARS, 1999), the first landmark book to position the scholarship of books and magazines as a topic of critical importance to the photographic medium, “book about books” has become a genre of publishing unto itself. Each year, the PhotoBook Awards jury sees at least one well-researched, richly illustrated publication that presents some new facet of photobibliophilia—often using the filter of a particular region or city or even a particular thematic niche. This year, however, the jury noted a rise in the number of books about books that exceeded expectation in terms of design, like Printed Photography in Venezuela; or ventured into new territory, telling the story of a single notable magazine, like Camera Austria International: Laboratory for Photography and Theory. Each of these volumes, in its own way, adds additional detail and texture to the evolving connoisseurship and scholarship dedicated to the photobook.” (from 