Charting the Development of Indigenous Curatorial Practice by Jonathan A
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Concepts of Spirituality in 'Th Works of Robert Houle and Otto Rogers Wxth Special Consideration to Images of the Land
CONCEPTS OF SPIRITUALITY IN 'TH WORKS OF ROBERT HOULE AND OTTO ROGERS WXTH SPECIAL CONSIDERATION TO IMAGES OF THE LAND Nooshfar B, Ahan, BCom A thesis submitted to the Faculty of Graduate Studies and Research in partial filfillment of the requïrements for the degree of Master of Arts Department of Art History Carleton University Ottawa, Ontario 6 December 2000 O 2000, Nooshfar B. Ahan Bibliothéque nationale du Canada Acquisitions and Acquisitions et Bibliographic Services services bibIiographiques 395 Wellington Street 395. rue Wellington Ottawa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada your me voue rélèreoca Our file Notre reMrence The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microfomq vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fkom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. This thesis examines the use of landscape motifs by two contemporary Canadian artists to express their spiritual aspirations. Both Robert Houle and Otto Rogers, inspired by the Canadian prairie landscape, employ its abstracted form to convey their respective spiritual ideas. -
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. -
ROSALIE FAVELL | Www
ROSALIE FAVELL www.rosaliefavell.com | www.wrappedinculture.ca EDUCATION PhD (ABD) Cultural Mediations, Institute for Comparative Studies in Art, Literature and Culture, Carleton University, Ottawa, Ontario, Canada (2005 to 2009) Master of Fine Arts, University of New Mexico, Albuquerque, New Mexico, United States (1998) Bachelor of Applied Arts in Photographic Arts, Ryerson Polytechnical Institute, Toronto, Ontario, Canada (1984) SELECTED SOLO EXHIBITIONS 2018 Rosalie Favell: Shifting Focus, Latcham Art Centre, Stoufville, Ontario, Canada. (October 20 – December 8) 2018 Facing the Camera, Station Art Centre, Whitby, Ontario, Canada. (June 2 – July 8) 2017 Wish You Were Here, Ojibwe Cultural Foundation, M’Chigeeng, Ontario, Canada. (May 25 – August 7) 2016 from an early age revisited (1994, 2016), Wanuskewin Heritage Park, Regina, Saskatoon, Saskatchewan, Canada. (July – September) 2015 Rosalie Favell: (Re)Facing the Camera, MacKenzie Art Gallery, Regina, Saskatchewan, Canada. (August 29 – November 22) 2014 Rosalie Favell: Relations, All My Relations, Minneapolis, Minnesota, United States. (December 12 – February 20, 2015) 2013 Muse as Memory: the Art of Rosalie Favell, Gallery of the College of Staten Island, New York City, New York, United States. (November 14 – December 19) 2013 Facing the Camera: Santa Fe Suite, Museum of Contemporary Native Art, Santa Fe, New Mexico, United States. (May 25 – July 31) 2013 Rosalie Favell, Cube Gallery, Ottawa, Ontario, Canada. (April 2 – May 5) 2013 Wish You Were Here, Art Gallery of Algoma, Sault Ste. Marie, Ontario, Canada. (February 28 – May 26) 2012 Rosalie Favell Karsh Award Exhibition, Karsh Masson Gallery, Ottawa, Ontario, Canada. (September 7 – October 28) 2011 Rosalie Favell: Living Evidence, Mount Saint Vincent University Art Gallery, Halifax, Nova Scotia, Canada. -
Indian Art in the 1990S Ryan Rice
Document generated on 09/25/2021 9:32 p.m. RACAR : Revue d'art canadienne Canadian Art Review Presence and Absence Redux: Indian Art in the 1990s Ryan Rice Continuities Between Eras: Indigenous Art Histories Article abstract Continuité entre les époques : histoires des arts autochtones Les années 1990 sont une décennie cruciale pour l’avancement et le Volume 42, Number 2, 2017 positionnement de l’art et de l’autonomie autochtones dans les récits dominants des états ayant subi la colonisation. Cet article reprend l’exposé des URI: https://id.erudit.org/iderudit/1042945ar faits de cette période avec des détails fort nécessaires. Pensé comme une DOI: https://doi.org/10.7202/1042945ar historiographie, il propose d’explorer chronologiquement comment les conservateurs et les artistes autochtones, et leurs alliés, ont répondu et réagi à des moments clés des mesures coloniales et les interventions qu’elles ont See table of contents suscitées du point de vue politique, artistique, muséologique et du commissariat d’expositions. À la lumière du 150e anniversaire de la Confédération canadienne, et quinze ans après la présentation de la Publisher(s) communication originale au colloque, Mondialisation et postcolonialisme : Définitions de la culture visuelle , du Musée d’art contemporain de Montréal, il UAAC-AAUC (University Art Association of Canada | Association d'art des V reste urgent de faire une analyse critique des préoccupations contemporaines universités du Canada) plus vastes, relatives à la mise en contexte et à la réconciliation de l’histoire de l’art autochtone sous-représentée. ISSN 0315-9906 (print) 1918-4778 (digital) Explore this journal Cite this article Rice, R. -
Understanding Aboriginal Arts in Canada Today ______
Understanding Aboriginal Arts in Canada Today ___________________________________________________________________________________________________ A Knowledge and Literature Review Prepared for the Research and Evaluaon Sec@on Canada Council for the Arts _____________________________________________________________________________________________________________ FRANCE TRÉPANIER & CHRIS CREIGHTON-KELLY December 2011 _____________________________________________________________________________________________________________ For more information, please contact: Research and Evaluation Section Strategic Initiatives 350 Albert Street. P.O. Box 1047 Ottawa ON Canada K1P 5V8 (613) 566‐4414 / (800) 263‐5588 ext. 4261 [email protected] Fax (613) 566‐4430 www.canadacouncil.ca Or download a copy at: http://www.canadacouncil.ca/publications_e Cette publication est aussi offerte en français Cover image: Hanna Claus, Skystrip(detail), 2006. Photographer: David Barbour Understanding Aboriginal Arts in Canada Today: A Knowledge and Literature Review ISBN 978‐0‐88837‐201‐7 TABLE OF CONTENTS ACKNOWLEDGEMENTS! 3 RESEARCH METHODOLOGY! 4 Why a Literature Review?! 4 Steps Taken! 8 Two Comments on Terminology! 9 Parlez-vous français?! 10 The Limits of this Document! 11 INTRODUCTION! 13 Describing Aboriginal Arts! 15 Aboriginal Art Practices are Unique in Canada! 16 Aboriginal Arts Process! 17 Aboriginal Art Making As a Survival Strategy! 18 Experiencing Aboriginal Arts! 19 ABORIGINAL WORLDVIEW! 20 What is Aboriginal Worldview?! 20 The Land! 22 Connectedness! -
Art, Artist, and Witness(Ing) in Canada's Truth and Reconciliation
Dance with us as you can…: Art, Artist, and Witness(ing) in Canada’s Truth and Reconciliation Journey by Jonathan Robert Dewar A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Indigenous and Canadian Studies Carleton University Ottawa, Ontario © 2017, Jonathan Robert Dewar Abstract This dissertation explores, through in-depth interviews, the perspectives of artists and curators with regard to the question of the roles of art and artist – and the themes of community, responsibility, and practice – in truth, healing, and reconciliation during the early through late stages of the 2008-2015 mandate of the Truth and Reconciliation Commission of Canada (TRC), as its National Events, statement taking, and other programming began to play out across the country. The author presents the findings from these interviews alongside observations drawn from the unique positioning afforded to him through his professional work in healing and reconciliation-focused education and research roles at the Aboriginal Healing Foundation (2007-2012) and the Shingwauk Residential Schools Centre (2012-2016) about the ways art and artists were invoked and involved in the work of the TRC, alongside it, and/or in response to it. A chapter exploring Indigenous writing and reconciliation, with reference to the work of Basil Johnston, Jeannette Armstrong, Tomson Highway, Maria Campbell, Richard Wagamese, and many others, leads into three additional case studies. The first explores the challenges of exhibiting the legacies of Residential Schools, focusing on Jeff Thomas’ seminal curatorial work on the archival photograph-based exhibition Where Are the Children? Healing the Legacy of Residential Schools and Heather Igloliorte’s curatorial work on the exhibition ‘We were so far away…’: The Inuit Experience of Residential Schools, itself a response to feedback on Where Are the Children? Both examinations draw extensively from the author’s interviews with the curators. -
Charmaine Andrea Nelson (Last Updated 4 December 2020)
Charmaine Andrea Nelson (last updated 4 December 2020) Dartmouth, Nova Scotia, Canada e-mail: [email protected] Website: blackcanadianstudies.com Table of Contents Permanent Affiliations - 2 Education - 2 Major Research Awards, Fellowships & Honours - 3 Other Awards, Fellowships & Honours – 4 Research - 5 Research Grants and Scholarships - 5 Publications - 9 Lectures, Conferences, Workshops – 18 Keynote Lectures – 18 Invited Lectures: Academic Seminars, Series, Workshops – 20 Refereed Conference Papers - 29 Invited Lectures: Public Forums – 37 Museum & Gallery Lectures – 42 Course Lectures - 45 Teaching - 50 Courses - 50 Course Development - 59 Graduate Supervision and Service - 60 Administration/Service - 71 Interviews & Media Coverage – 71 Blogs & OpEds - 96 Interventions - 99 Conference, Speaker & Workshop Organization - 100 University/Academic Service: Appointments - 103 University/Academic Service: Administration - 104 Committee Service & Seminar Participation - 105 Forum Organization and Participation - 107 Extra-University Academic Service – 108 Qualifications, Training and Memberships - 115 Related Cultural Work Experience – 118 2 Permanent Affiliations 2020-present Department of Art History and Contemporary Culture NSCAD, Halifax, Nova Scotia, Canada Professor of Art History and Tier I Canada Research Chair in Transatlantic Black Diasporic Art and Community Engagement/ Founding Director - Institute for the Study of Canadian Slavery: research, administrative duties, teaching (1 half course/ year): undergraduate and MA -
Indigenous Sovereignty and Settler Amnesia: Robert Houle's Premises
Document generated on 10/02/2021 2:14 a.m. RACAR : Revue d'art canadienne Canadian Art Review Indigenous Sovereignty and Settler Amnesia: Robert Houle’s Premises for Self Rule Stacy A. Ernst Continuities Between Eras: Indigenous Art Histories Article abstract Continuité entre les époques : histoires des arts autochtones Le modernisme en art est souvent considéré comme un développement Volume 42, Number 2, 2017 spécifiquement occidental. Robert Houle, l’artiste, écrivain et commissaire d’exposition d’origine Saulteaux, a cependant toujours soutenu que sa propre URI: https://id.erudit.org/iderudit/1042950ar pratique est moderniste et qu’elle suit une filiation esthétique autochtone. Cet DOI: https://doi.org/10.7202/1042950ar article s’intéresse particulièrement à une oeuvre produite par Houle en 1994, Premises for Self Rule, dans laquelle l’artiste a juxtaposé des textes de législation coloniale à des panneaux peints en monochrome et des cartes See table of contents postales trouvées en archives. Il propose qu’à travers cette stratégie de rapprochement, l’artiste fusionne la tradition de la peinture de parflèche à l’esthétique moderniste, remettant ainsi en lumière la négociation Publisher(s) interculturelle, l’amnésie coloniale, ainsi que les écarts qui séparent les épistémologies et traditions artistiques des peuples autochtones et allochtones. UAAC-AAUC (University Art Association of Canada | Association d'art des universités du Canada) ISSN 0315-9906 (print) 1918-4778 (digital) Explore this journal Cite this article Ernst, S. A. (2017). Indigenous Sovereignty and Settler Amnesia: Robert Houle’s Premises for Self Rule. RACAR : Revue d'art canadienne / Canadian Art Review, 42(2), 108–120. -
Technologies of Self-Fashioning: Virtual Ethnicities in New Media Art
Technologies of Self-Fashioning: Virtual Ethnicities in New Media Art Alice Ming Wai Jim Concordia University Montreal, Canada [email protected] Abstract tique and redress the former. Why? Because the bodies This paper proposes a theoretical framework with which to dis- engaged are themselves potentially disruptive, particularly cuss the critical engagement of media art projects in Second Life when it is up against hegemonic social norms and conduct, with racialized self-representation, fashion and ethnic dress. Ex- of which dress is a significant marker. One of the artistic amining Montreal-based Mohawk artist Skawennati’s machinima strategies is to facilitate the online critically-aware remedi- series, TimeTravellerTM (2008-13), a project of self- ation of ethnic apparel (the entire outfit from makeup and determination, survivance and Indigenous futurity, it argues the hairstyles to clothing and accessories—even behaviours). critically-aware act of ‘virtually self-fashioning’ racialized born- Elsewhere I have argued that ‘ethnic dress’ (and its vari- digital identities, or virtual ethnicities, disrupts ways in which ants—‘national dress’ or ‘world fashion’) exist only be- today’s vast proliferation of self-technologies enabling the crea- cause of the persistent Eurocentric perception of fashion as tion, recreation and management of multiple selves, would other- a purely Euro-American invention. ‘Ethnic apparel” is thus wise remain complicit with neoliberal colour-blind racism. used as a critical term whenever possible to underscore sartorial interventions cognizant of prevailing racist ideo- Keywords logies and discourses. The paper concludes with an explo- ration of Montreal-based Mohawk artist Skawennati’s ma- Self-fashioning, fashion, ethnic apparel, race, gender, coloublind chinima series, TimeTravellerTM (2008-13), as an example racism, Second Life, virtual worlds, SLart, Skawennati, Time of the complex processes of cultural negotiation involved Traveller in the virtual construction of “Indian Country” in Second Life. -
Robert Houle Paris/ Ojibwa
1970 Centre 40ème anniversaire culturel canadien 2010 Paris Press Release An installation by Robert Houle Paris/ Ojibwa April 13, 2010 from April 14 to September 10, 2010 Gallery talk around the installation project / 5:00 pm Robert Houle Mick Gidley / University of Leeds Donald Smith / University of Calgary Limited access Reservations : 01 44 43 21 49 Opening / 6:30 pm The Canadian Cultural Centre presents an installation by Robert Houle which travels back in time of 1845 in Paris. Paris/Ojibwa evokes an exotic contact with the Ojibwa which impressed the Parisian imagination in the 19th century and inspired painters and poets, among them Delacroix and Baudelaire. The installation was conceived in 2006 during the artist’s residency at La Cité des Arts in Paris. The work is an homage as well as a reflection on the theme of disappearance. The title of the work alludes to contact between Parisians and a group of indigenous people from Canada guided by a remarkable man, Maungwudaus (a Great Hero). From April to December of 1845, Parisians saw authentic Ojibwa on the streets as performers and always as a curiosity. These Ojibwa who were also called Mississauga or Chippewa, came from what was then known as Canada West. At the behest of painter George Catlin, Maungwudaus and his family and companions travelled to Paris to replace the Iowa, another aboriginal tribe, in the tableaux vivants that complemented the display of Catlin’s paintings in Paris. Catlin describes their arrival in Paris: “In the midst of my grief, with my little family around me, with my collection still open, and my lease for the Salle Valentino not yet expired, there suddenly arrived from London a party of eleven Ojibbeway Indians, from the region of Lake Huron, in Upper Canada, who had been brought to England by a Canadian, but Photography © Michael Cullen (detail) had since been under the management of a young man from the city of London. -
Robert Houle the Pines 2002 – 2004
Teacher Resource SUGGESTED GRADE LEVELS: Grade 7 – Grade 12 CURRICULUM LINKS: Visual Arts, Science, Geography, Social Studies ROBERT HOULE THE PINES 2002 – 2004 “The story of Canada is about us as well. From day one. Because we were here frst. We settled here frst. It’s a tripod, this country. It’s French, English and First Nations. We helped shape this country, you know, and we continue to.” —Robert Houle Robert Houle, The Pines, 2002–2004. Oil on canvas, panel (centre): 91.4 x 121.9 cm., panel (side, each of two): 91.4 x 91.4 cm. © Robert Houle. GUIDED OBSERVATION • How would you describe the feeling of this artwork? What makes you say that? • The Pines are made of three separate canvases. Why do you think the artist decided to separate the pieces? • If you could ask the artist one question about this work, what would it be? CONTEXT Robert Houle made this work after visiting the Pines, a burial ground and recreation area in Kanehsata:ke, a Kanien’kehá:ka (Mohawk) settlement near Oka, Quebec. It was the site of an ongoing land dispute. The Kanien’kehá:ka community asserted King Louis XV of France and gave the land to the Sulpician order of priests in the 1700s, for the beneft of the Kanien’kehá:ka and Algonquin communities in the area. The Sulpicians sold of much of that land to European settlers. Teacher Resource continued CONTEXT In 1990, the Pines area became the site of a tense 78-day standof between Canadian armed forces and Mohawk Warriors and Land Defenders from across Canada.