Faculty of Media, Art, and Performance 2016 01-06 Teaching History
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Aird Gallery Robert Houle
ROBERT HOULE LOOKING FOR THE SHAMAN CONTENTS INTRODUCTION by Carla Garnet ARTIST STATEMENT by Robert Houle ROBERT HOULE SELECTED WORKS A MOVEMENT TOWARDS SHAMAN by Elwood Jimmy INSTALL IMAGES PARTICIPANT BIOS LIST OF WORKS ABOUT THE JOHN B. AIRD GALLERY ROBERT HOULE CURRICULUM VITAE (LONG) PAMPHLET DESIGN BY ERIN STORUS INTRODUCTION BY CARLA GARNET The John B. Aird Gallery will present a reflects the artist's search for the shaman solo survey show of Robert Houle's within. The works included are united by artwork, titled Looking for the Shaman, their eXploration of the power of from June 12 to July 6, 2018. dreaming, a process by which the dreamer becomes familiar with their own Now in his seventh decade, Robert Houle symbolic unconscious terrain. Through is a seminal Canadian artist whose work these works, Houle explores the role that engages deeply with contemporary the shaman plays as healer and discourse, using strategies of interpreter of the spirit world. deconstruction and involving with the politics of recognition and disappearance The narrative of the Looking for the as a form of reframing. As a member of Shaman installation hinges not only upon Saulteaux First Nation, Houle has been an a lifetime of traversing a physical important champion for retaining and geography of streams, rivers, and lakes defining First Nations identity in Canada, that circumnavigate Canada’s northern with work exploring the role his language, coniferous and birch forests, marked by culture, and history play in defining his long, harsh winters and short, mosquito- response to cultural and institutional infested summers, but also upon histories. -
Truck Contemporary Art's 3Rd Annual Postcard Fundraiser
TRUCK CONTEMPORARY ART’S 3RD ANNUAL ARTIST CATALOGUE POSTCARD FUNDRAISER EVENT DETAILS Saturday, February 29th, 2020 7PM - 10PM TRUCK Contemporary Art - 2009 10 Ave SW, Calgary, AB Bidding starts at 7PM and closes at 930PM PROXY BIDDING If you cannot make it to the fundraiser in person, we will be accepting proxy bids by email at [email protected] prior to the event and by text at 587-439-8706 on the night of the event. Please include your maximum bid amount. BUY-IT-NOW Prior to the fundraiser, you may purchase postcards at the BUY-IT-NOW price of $300.00 without bidding. This option is only available until the beginning of the event, which starts at 7PM on February 29th, 2020. If you would like to BUY-IT-NOW, please email [email protected] Alberta Rose W./Ingniq Mohkinstsis (Calgary) based artist, Ingniq worked her way through college as a cook, then in politics before she obtained her BFA with distinction from the Alberta University of the Arts (formerly ACAD). Of mixed settler/Inuvialuit heritage, Ingniq often creates work that reflects both aspects of her cultural identity as well as broader social issues related to Indigenous people today. Often working with reclaimed or rescued materials in her art- making, Ingniq takes an intuitive and mindful approach to art. In part, this is a reactionary, conscious choice regarding the amount of rampant waste in this capitalist/consumerist society, as well as a symbolic gesture adding to the reclamation of identity. The need to create work like this is to focus on evolving activism that seeks to generate dialogue and awareness about the current and historical aspects influencing Indigenous people, as well as other groups of marginalized individuals and problems to generate opportunities for more inclusive and supportive societies. -
Liss Platt 151 Ray Street North • Hamilton, Ontario L8R 2Y3 905.525.4363 (Phone) • 905.966.6352 (Cell) [email protected] • Lissplatt.Ca
Liss Platt 151 Ray Street North • Hamilton, Ontario L8R 2Y3 905.525.4363 (phone) • 905.966.6352 (cell) [email protected] • lissplatt.ca EDUCATION 1992-93 Whitney Independent Study Program, Whitney Museum of American Art, NY, NY. 1992 Master of Fine Arts, University of California, San Diego, La Jolla, CA. 1988 Bachelor of Fine Arts, The University of Connecticut, Storrs, CT. 1986 The Nova Scotia College of Art and Design, Halifax, Nova Scotia; Exchange Program. SOLO and TWO-PERSON EXHIBITIONS, SCREENINGS, PERFORMANCES 2018 b Contemporary, dis/order, Hamilton, ON (photos) 2017 McMaster Museum of Art, Liss Platt - A Constant Decade, Hamilton, ON (photos and videos) Hamilton Artist’s Inc, Domestic Brew: 99 Bottles of Beer on the Wall, Hamilton, ON (Shake-n- Make - sculptural installation and billboard photograph) The Cotton Factory, Hand of Craft, Hamilton, ON (Shake-n-Make – installation) 2015 AXENÉO7, puck painting performance, Gatineau, QC (performance – making a puck painting) Chester Street News, what’s cookin’, Toronto ON (Shake-n-Make collective – crafts/objects) McMaster Museum of Art, Dark Horse Candidate, Hamilton, ON (screening of feature documentary) 2014 MKG127, dis/order, Toronto, ON (photographs) Struts Gallery/Faucet New Media, Call of the Running Tide, Sackville, NB (performance and installation) (2-person show with David Hoffos/Mary Anne McTrowe) 2012 Rodman Hall Art Centre, You Can’t Get There From Here, St. Catherines, ON (video projection, photographs, postcard installation) MKG127, Constant, Toronto, ON (photographs) -
Indigenous History: Indigenous Art Practices from Contemporary Australia and Canada
Sydney College of the Arts The University of Sydney Doctor of Philosophy 2018 Thesis Towards an Indigenous History: Indigenous Art Practices from Contemporary Australia and Canada Rolande Souliere A thesis submitted in partial fulfilment of requirements for the degree of Doctor of Philosophy at Sydney College of the Arts, University of Sydney This is to certify that to the best of my knowledge, the content of this thesis is my own work. This thesis has not been submitted for any degree or other purposes. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. Rolande Souliere i ACKNOWLEDGEMENTS I would like to thank Dr. Lynette Riley for her assistance in the final process of writing this thesis. I would also like to thank and acknowledge Professor Valerie Harwood and Dr. Tom Loveday. Photographer Peter Endersbee (1949-2016) is most appreciated for the photographic documentation over my visual arts career. Many people have supported me during the research, the writing and thesis preparation. First, I would like to thank Sydney College of the Arts, University of Sydney for providing me with this wonderful opportunity, and Michipicoten First Nation, Canada, especially Linda Petersen, for their support and encouragement over the years. I would like to thank my family - children Chloe, Sam and Rohan, my sister Rita, and Kristi Arnold. A special thank you to my beloved mother Carolyn Souliere (deceased) for encouraging me to enrol in a visual arts degree. I dedicate this paper to her. -
PDF Version of Contemporary Indigenous Arts
CONTEMPORARY INDIGENOUS ARTS IN THE CLASSROOM OTTAWA ART GALLERY Edited by Stephanie Nadeau and Doug Dumais Texts by David Garneau and Wahsontiio Cross Library and Archives Canada Cataloguing in Publication Contemporary indigenous arts in the classroom / edited by Stephanie Nadeau and Doug Dumais ; texts by David Garneau and Wahsontiio Cross = L’art autochtone contemporain en salle de classe / sous la direction de Stephanie Nadeau et Doug Dumais ; textes par David Garneau et Wahsontiio Cross. Includes bibliographical references and index. Text in English and French. ISBN 978-1-894906-55-5 (softcover) 1. Native art--Canada--Study and teaching. 2. Koebel, Jaime--Criticism and interpretation. 3. Ace, Barry, 1958- --Criticism and interpretation. I. Nadeau, Stephanie, 1980-, editor II. Dumais, Doug, editor III. Garneau, David, 1962-, writer of added commentary IV. Cross, Wahsontiio, 1983-, writer of added commentary V. Ottawa Art Gallery, issuing body VI. Title: Art autochtone contemporain en salle de classe. VII. Title: Contemporary indigenous arts in the classroom. VIII. Title: Contemporary indigenous arts in the classroom. French. N6549.5.A54C665 2018 704.03’97071 C2018-904800-XE © 2018 Ottawa Art Gallery Cover: Barry Ace, Anishinabek in the Hood, 2007, acrylic on vinyl screen, 147.3 x 127cm, Collection of Ottawa Art Gallery. All rights reserved regarding the use of any images in this book. Textual content, including all essays, lesson plans and resource material, is licensed under Creative Commons “Attribution-NonCommercial-NoDerivatives 4.0 International” (CC BY-NC-ND 4.0). For the license agreement, see https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode, and a summary (not a substitute) see https://creativecommons.org/licenses/by-nc-nd/4.0/. -
University of Calgary Press
University of Calgary Press www.uofcpress.com FROM REALISM TO ABSTRACTION: THE ART OF JB TAYLOR Adriana A. Davies ISBN 978-1-55238-764-1 THIS BOOK IS AN OPEN ACCESS E-BOOK. It is an electronic version of a book that can be purchased in physical form through any bookseller or on-line retailer, or from our distributors. Please support this open access publication by requesting that your university purchase a print copy of this book, or by purchasing a copy yourself. If you have any questions, please contact us at [email protected] Cover Art: The artwork on the cover of this book is not open access and falls under traditional copyright provisions; it cannot be reproduced in any way without written permission of the artists and their agents. The cover can be displayed as a complete cover image for the purposes of publicizing this work, but the artwork cannot be extracted from the context of the cover of this specific work without breaching the artist’s copyright. COPYRIGHT NOTICE: This open-access work is published under a Creative Commons licence. This means that you are free to copy, distribute, display or perform the work as long as you clearly attribute the work to its authors and publisher, that you do not use this work for any commercial gain in any form, and that you in no way alter, transform, or build on the work outside of its use in normal academic scholarship without our express permission. If you want to reuse or distribute the work, you must inform its new audience of the licence terms of this work. -
CURRICULUM VITAE: Barry Ace | [email protected]
CURRICULUM VITAE: Barry Ace www.barryacearts.com | [email protected] SELECTED GROUP AND SOLO EXHIBITIONS 2020 / 2022 Upcoming & Current J . S. McLean Centre for Indigenous & Canadian Art. Group Exhibition. Art Gallery of Ontario, Toronto, Ontario. (July 1, 2018 - ongoing) C anadian and Indigenous Galleries. Group Exhibition. National Gallery of Canada, Ottawa, Ontario. (September 1, 2019 – ongoing) Queer History of Ottawa (working title). Group Exhibition. Curators – Anna Shah Hoque and Cara Tierney. Carleton University Art Gallery, Ottawa, Ontario. (Fall 2020) Watershed (working title). Group Exhibition. Curators – Jennifer Friess and Erika Larson. University of Michigan Museum of Art, A. Alfred Taubman Gallery. Ann Arbor, Michigan, USA. (October 2021) waabiganikaade (it is made of clay). Solo exhibition. Curator – Denis Longchamps. Canadian Clay and Glass Gallery. Waterloo, Ontario. (Summer 2022) 2019 (Past) m azinigwaaso / to bead something: Barry Ace: Bandolier Bags as Cultural Conduit. Solo exhibition. Curator – Lori Beavis. Faculty of Fine Arts Gallery, Concordia University, Montréal, Québec. (November 4 – December 13, 2019) À badakone / Continuous Fire / Feu continuel. Group Exhibition. Curators – Greg Hill, Rachelle Dickenson, Christine Lalonde. National Gallery of Canada, Ottawa, Ontario. (November 8, 2019 – April 5, 2020) A rt Toronto. International Art Fair. Kinsman Robinson Galleries. Metro Toronto Convention Centre, Toronto, Ontario. (October 25 – October 27, 2019) Barry Ace | www.barryacearts.com 1 B ody of Waters. Group exhibition. Curator – Iga Janik. Idea Exchange, Queen’s Square Gallery, Cambridge, Ontario. (July 12 – October 12, 2019) invisible threads. Group Exhibition. Curator – Michelle LaVallee. Indigenous Art Centre Gallery, Indigenous and Northern Affairs Canada, Gatineau, Quebec. (May 21 – September, 2019) W rapped in Culture. -
November December 2018
V. 30 N. 06 NOVEMBER NOVEMBER | DECEMBER NEWSLETTER 35TH ANNIVERSARY! FEATURES FOUR INTERVIEWS ABOUT THE WORK/WORK 06 MICHELLE LAVALLEE 11 BALANCE - WHAT WORKS? 35TH Margaret Bessai NUIT BLANCHE 2018 IDEAS ON 12 Photo Documentation 14 COLLABORATION ANNIVERSARY! Blair Fornwald REFLECTIONS ON CARFAC SASK’S 35TH 17 ANNIVERSARY Karen Schoonover COVER: CARFAC SASK was founded in 1983! 16 | OUR OFFICE AT WORK IN 2018! 18 | EXHIBITIONS The CARFAC SASK Newsletter is published six times per year: January/February March/April May/June | NEWS & OPPORTUNITIES 20 July/August September/October November/December 24 | CARFAC WAY BACK Deadline for copy is the 20th day of the month before publication. January/February deadline: December 20 25 | CONTACT Send to: [email protected] © CARFAC Saskatchewan 2018 Individual authors also hold copyright to their work. Written permission is required 26 | MEMBERSHIP to reprint. Note: Due to time and space restrictions all submissions cannot be thoroughly checked or all information printed. Use contact listed. Material published in the CARFAC Saskatchewan Newsletter reflects the view of the author and not necessarily the view of CARFAC Saskatchewan. CARFAC Saskatchewan is funded by SaskCulture with funding provided by Saskatchewan Lotteries Trust Fund for Sport, Culture and Recreation. INTRODUCING CARFAC SASK'S TRAVELLING MENTOR HEATHER BENNING INTRODUCING CARFAC SASK'S TRAVELLING MENTOR HEATHER BENNING INTRODUCING CARFAC SASK'S TRAVELLING MENTOR HEATHER BENNING INTRODUCING CARFAC SASK'S NOTE FROM THE EDITOR Welcome to this special issue of the CARFAC SASK Newsletter, a full- colour issue with lots of content celebrating our 35 year anniversary! Here you will find a feature interview piece with four people speaking about their time working wth curator Michelle LaVallee. -
[email protected] SELECTED GROUP and SOLO EXHIBITIONS
CURRICULUM VITAE: Barry Ace www.barryacearts.com | [email protected] SELECTED GROUP AND SOLO EXHIBITIONS Upcoming & Current J. S. McLean Centre for Indigenous & Canadian Art. Group Exhibition. Art Gallery of Ontario, Toronto, Ontario. (July 1, 2018 - ongoing) Coalesce. Solo exhibition. Curator – Suzanne Luke. Robert Langen Art Gallery, Wilfrid Laurier University, Waterloo, Ontario. (February 25 to April 5, 2019) Carbon and Light: Juan Geuer’s Luminous Precision. Group exhibition. Curator – Caroline Seck Langill. Ottawa Art Gallery, Ottawa, Ontario. (March 9 to May 26, 2019) Wrapped in Culture. Group exhibition. Curator – Wahsontiio Cross. Ottawa Art Gallery, Ottawa, Ontario. (April 12 - September 15, 2019) invisible threads. Group Exhibition. Curator – Michelle LaVallee. Indigenous Art Centre Gallery, Indigenous and Northern Affairs Canada, Gatineau, Quebec. (May 21 – July 8, 2019) Bodys of Water. Group exhibition. Curator – Iga Janik. Idea Exchange, Queen’s Square Gallery, Cambridge, Ontario. (July 12 – October 12, 2019) mazinigwaaso / to bead something: Barry Ace: Bandolier Bags as Cultural Conduit. Solo exhibition. Curator – Lori Beavis. Faculty of Fine Arts Gallery, Concordia University, Montréal, Québec. (Fall 2019) TBA. Solo exhibition. Curator – Anong Beam. Ojibwe Cultural Foundation. M’Chigeeng, Manitoulin Island, Ontario. (August 30 to Nov 29, 2020) Barry Ace | www.barryacearts.com 1 2018 For as long as the sun shines; the grass grows and the river flows. Solo exhibition. School of Creative Arts Gallery, University of Windsor. (November 19 to November 23, 2018) URL: IRL. Group exhibition. Curators – Blair Fornwald, Jennifer Matotek and Wendy Peart. Dunlop Art Gallery. Regina, Saskatchewan. (June 1 to September 1, 2018) Àdisòkàmagan / Nous connaître un peu nous-mêmes / We’ll all become stories. -
Alberta Foundation for the Arts Travelling Exhibition Program
ALBERTA FOUNDATION FOR THE ARTS TRAVELLING EXHIBITION PROGRAM 2 ALBERTA FOUNDATION FOR THE ARTS TRAVELLING FiguredEXHIBITION PROGRAM Interpretive Catalogue and Educators Guide: AFA Travelling Exhibition Program (TREX) Curated by: Xanthe Isbister, Curator of Art Esplanade Arts and Heritage Centre 3 Kay Angliss Figure in Red 1978 Watercolour on paper 18 1/2 x 11 13/16 in. Collection of the Alberta Foundation for the Arts 4 7 TableAbout the Esplanade of Contents 9 About the AFA Travelling Exhibition Program 11 Curatorial Statement 13 Biographies 20 List of Works 25 Introduction to Educator’s Guide and Lesson Plans 27 Lesson 1: Blind Contour Drawing 31 Lesson 2: Expressive Mark-Making 37 Lesson 3: Cut-Out Figures 41 Acknowledgements 5 Marion Nicoll Figure/Sketch n.d. Watercolour on paper 17 15/16 x 12 in. Collection of the Alberta Foundation for the Arts 6 About the Esplanade The Esplanade Arts and Heritage Centre is Esplanade Studio Theatre across the lobby where the stories of our great collective culture from the Esplanade Main Stage Theatre, the are told through music and dance, painting expansive Esplanade Archives and Reading and sculpture, plays and concerts, exhibitions Room, an art education space called the and installations, artifacts and art, education Discovery Centre and the catering-friendly programs and private events. Featuring a 700- Cutbanks Room. seat main stage balcony theatre which boasts superior technology and striking design, the In the northeast corner of the Esplanade Esplanade is where Medicine Hat celebrates grounds stands the oldest remaining brick arts and heritage. home in Alberta, the Ewart-Duggan House. -
Download a PDF Catalogue
HODGINSAUCTION.COM SPRING 2020 Monday, June 22 @ 7 p.m. - Online Auction METHODS OF BIDDING: ELECTRONIC PRE-BIDDING. You can place your maximum bids through the online catalogue at any time prior to the auction - type in your maximum bid amount and click “Place Bid”. The software will administer your bid up to your maximum, in competition with other bidders. ELECTRONIC REAL-TIME BIDDING. Register early as pre-approval is required. Log in at sale time and bid in real-time as the auction is closing. ABSENTEE BIDDING. If you do not wish to bid electronically, you can submit an Absentee Bid Form. We will enter your maximum bids into our software where they will be placed into competition against other bidders. Absentee bids appear as “Floor Bidder” in the bidding history. NOTE. Lots begin to close sequentially in 20 second intervals. Each lot displays a countdown clock. A 2 minute bidding extension is added to the clock if a bid is placed in the final 2 minutes. The extended bidding on one lot does not affect the closing time of other lots. Late active bidding can extend the closing of an individual lot for an extended time. 4 | Michael O’Toole All bids are time-stamped. In the event of a tie (identical bids), the earliest placed bid wins. Canadian FCA [b. 1963] LATE OCTOBER (BANFF) The Terms and Conditions of the auction can be found within the online catalogue. acrylic on canvas 20 x 24 in. (50.8 x 61 cm) signed lower left; signed & titled verso $ 1,000 / 1,500 5 | William (Bill) Duma 1 | James McLaren (Jim) Nicoll Canadian ASA, RCA [b. -
William Leroy “Roy” Stevenson Exhibition History And
WILLIAM LEROY “ROY” STEVENSON EXHIBITION HISTORY AND CHRONOLOGY compiled by Chris Varley and Nancy Townshend “I believe he [William Leroy Stevenson] was one of Canada’s greatest artists, especially as a landscape painter.” Maxwell Bates in a letter dated February 19, 1976 to Terry Fenton, Art Gallery of Alberta Archives. “We were of enormous help to each other; of that I am sure.” Maxwell Bates, “The Painter WLS: a Memoir, 2” Maxwell Bates fonds, 439/89.1, Box/file 10.2, Special Collections, Taylor Family Digital Library, University of Calgary. Illingworth Kerr; “Maxwell Bates, Dramatist”, Canadian Art, Vol. XIII, No. 4, Summer 1956: “After high school he [Bates] became associated with his father in architecture, though his real passion was for painting. The idea of nationalism in Canadian art did not affect him. Self-taught, except for two years in evening classes, he became influenced by Gauguin, van Gogh and Cézanne. When his work was shown in Calgary in 1928 it shocked the local artists, public and press. Though he exhibited in Vancouver, Ottawa and New York, the home town remained unimpressed.” His chief sustaining force was a fellow painter, Roy Stevenson, with whom Bates made a stimulating visit to the Chicago Art Institute.” 1905 May 25 - born in Guelph, Ontario Born with infantile paralysis: had a lame club foot. “Parents did not give him any encouragement to paint. Nonetheless he thought only about art.” 2 Gerry Stevenson (brother of Roy) in an interview with Nancy Townshend, October 31, 1988, as quoted by Nancy Townshend, A History of Art in Alberta 1905 – 1970 (Calgary: Bayeux Arts, 2005) 2.