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Art of the Peace Symposium ‘07 the Prairie Art Gallery: 7 8 13 25 Contents 14 20 16 Steve Mills
A Publication for the Visual Arts Fall/Winter 2007 Issue 9 of the Peace www.artofthepeace.ca Brian Jungen: A DEEPER WELL Symposium ‘07 Deryk Houston: Cultivating a Place of Peace Open to Interpretation: Three Peace River Artists ollege C O NCE RT SER IES Mark O’Connor’s For further information hot swing please call GPRC Fine Arts at 780-539-2443 November 21, 2007 All performances at DJ Cardinal Performing Arts Centre Chatham Baroque January 11, 2008 Robert Silverman February 14, 2008 Ensemble Caprice baroque turbulence February 24, 2008 Camerata Nordica sweden March 16, 2008 Rising Again? Deryk Houston Workshops in Progress Art of the Peace Symposium ‘07 The Prairie Art Gallery: 7 8 13 25 contents 14 20 16 Steve Mills Brian Jungen Open to Interpretation art out there... 4 the BUSINESS of art 10 Art Books in Review 12 Artists with Issues 19 education & opportunities 22 The Last Word 26 Editor: Wendy Stefansson ©All rights reserved Art of the Peace Editorial Committee: Dale Syrota, Carrie Klukas 2007 Design, Layout & Advertising: imageDESIGN Art of the Peace Visual Arts Association Contributors: Jody Farrell, Wendy Stefansson, Ellen Corea acknowledges the financial assistance of: Reproduction in whole or in part is Publisher: Art of the Peace Visual Arts Association, strictly prohibited. c/o The Prairie Art Gallery, The Alberta Foundation for the Arts Suite #103, 9856 - 97 Street, Grande Prairie, AB T8V 7K2 Art of the Peace makes every effort to Ph: (780) 532-8111; [email protected] ensure the accuracy of the information Printing: Menzies Printers it publishes, but cannot be held respon- Cover: Prototype for New Understanding #5, 1999, Nike Air Jordans, City of Grande Prairie Arts Development Fund sible for any consequences arising from human hair. -
The Alberta Foundation for the Arts Travelling Exhibition Program Now Is the Winter
Interpretive Guide & Hands-on Activities The Alberta Foundation for the Arts Travelling Exhibition Program Now is the winter... The Alberta Foundation for the Arts Travelling Exhibition Program The Interpretive Guide The Art Gallery of Alberta is pleased to present your community with a selection from its Travelling Exhibition Program. This is one of several exhibitions distributed by the Art Gallery of Alberta as part of the Alberta Foundation for the Arts Travelling Exhibition Program. This Interpretive Guide has been specifically designed to complement the exhibition you are now hosting. The suggested topics for discussion and accompanying activities can act as a guide to increase your viewers’ enjoyment and to assist you in developing programs to complement the exhibition. Questions and activities have been included at both elementary and advanced levels for younger and older visitors. At the Elementary School Level the Alberta Art Curriculum includes four components to provide students with a variety of experiences. These are: Reflection: Responses to visual forms in nature, designed objects and artworks Depiction: Development of imagery based on notions of realism Composition: Organization of images and their qualities in the creation of visual art Expression: Use of art materials as a vehicle for expressing statements The Secondary Level focuses on three major components of visual learning. These are: Drawings: Examining the ways we record visual information and discoveries Encounters: Meeting and responding to visual imagery Composition: Analyzing the ways images are put together to create meaning The activities in the Interpretive Guide address one or more of the above components and are generally suited for adaptation to a range of grade levels. -
FEVER DREAMS / / Interview with Andy Fabo
FEVER DREAMS / / Interview with Andy Fabo In a 1981 essay published in October, Benjamin Buchloh described contemporary artists engaged in figuration as “ciphers of regression,” artists whose practices represented a step backwards in the forward march of artistic progress. This prominent art historian, born in Germany and working now as a professor at Harvard, was employed at the Nova Scotia College of Art and Design (NSCAD) when he wrote this essay, appointed head of the university press between 1978 and 1983.i Buchloh was in part reacting to the extreme heat of the neo-Expressionist market of the late 1970s and ‘80s, which in many ways mirrored the excesses of Wall Street at the time; New York Times critic Roberta Smith reflects that “The Neo-Expressionists were an instant hit. The phrases ‘art star’ ‘sellout show’ and ‘waiting list’ gained wide usage, sometimes linked to artists you’d barely heard of.”ii Buchloh, like Clement Greenberg had for the modernist generation before him, played an outsized role in the nascent post-modern scene in Canada. However, unlike Greenberg, the rapidly expanding field of artistic production in Canada prevented him from playing the singular role that Greenberg had during his time. Simply put, the proliferation of university studio programs and the coalescing of artistic communities in various urban centres allowed for a multiplicity of practices that had not existed in Canada prior to the 1970s. Fever Dreams, which presents figurative works drawn from the Permanent Collection of the MacLaren Art Centre and dating from 1978 to 2000, highlights a seismic shift from a virtually monolithic focus on abstraction at mid-century to the more pluralistic artistic practices of the latter quarter of the twentieth century. -
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. -
Proquest Dissertations
The Anti-Trickster At Play: Representing First Nations Artists And Art In The Art Galleries And Museums Of Northern British Columbia Annette Catherine Schroeter B.Des., Open University of British Columbia and Emily Carr College of Art and Design, 1992 Graphic Design Major B.A., University of Northern British Columbia, 1997 Anthropology and History Majors Thesis Submitted in Partial Fulfillment Of The Requirements For The Degree Of Master Of Arts In First Nations Studies The University Of Northern British Columbia January 2008 © Annette Catherine Schroeter, 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-48819-5 Our file Notre reference ISBN: 978-0-494-48819-5 NOTICE: AVIS: The author has granted a non L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriete du droit d'auteur ownership and moral rights in et des droits moraux qui protege cette these. -
View Pdf Catalogue
INUIT & FIRST NATIONS ART July 12, 2020, Toronto First Arts First Arts INUIT & FIRST NATIONS ART AUCTION SUNDAY, JULY 12, 2020 at 7pm EDT Held at A. H. Wilkens Auctions & Appraisals 1 William Morgan Drive, Toronto PREVIEWS Thursday July 9 10am – 5pm Friday, July 10 10am – 5pm Saturday, July 11 10am – 5pm Sunday, July 12 12pm – 3pm To ensure a safe and orderly viewing experience we highly recommend scheduling an appointment to preview as we will be limiting access to the auction rooms in accordance with social distancing guidelines. For more information call: 647.286.5012. All lots may be viewed online on our website: www.FirstArts.ca ABSENTEE AND PHONE BIDDING Please contact us to register for telephone or absentee bidding. In order to ensure proper processing, all absentee bids or requests for telephone bidding must be submitted before 3:00pm on the day of the auction. Phone: 647.286.5012 Fax: 416.360.8900 [email protected] BUYER’S PREMIUM: 20% The auction will be live streamed on YouTube, and internet bidding will be available through both Liveauctioneers and Hibid. Please consult our website for any changes or updates. This auction is subject to the Terms and Conditions printed in the back of this catalogue. Copyright ©2020 All rights reserved. This book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of First Arts Premiers Inc. Catalogue photography by Dieter Hessel Catalogue design by Colleen Clancey Catalogue published by Heliographics, Toronto, and printed in Canada by Friesen’s Front Cover: Lot 37, Inside Front Cover: Lot 84 (detail), Back Cover:Lot 51 Introduction First Arts e at First Arts are proud to present our Spring/Summer 2020 live auction collection of Inuit, First Nations, irst Arts is an ambitious project. -
Uva-DARE (Digital Academic Repository)
UvA-DARE (Digital Academic Repository) The new tribe: Critical perspectives and practices in Aboriginal contemporary art McMaster, G.R. Publication date 1999 Link to publication Citation for published version (APA): McMaster, G. R. (1999). The new tribe: Critical perspectives and practices in Aboriginal contemporary art. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:23 Sep 2021 250 The New Tribe Supplement IV List of Illustrations fig- 1 Edward Poitras, Coyote (1986). Collection of Neil Devitt, Regina, Saskatchewan. fig. 2a Edward Poitras, Big Dog House (1995). Mixed-media installation. From the exhibition Edward Poitras: Canada XLVI Biennale di Venezia, 1995. Collection of the artist. Photograph by Stephen Darby. fig- 2b Edward Poitras, Big Dog House, (detail). -
UAAC Annual Conference Congrès Annuel De L’AAUC
UAAC Annual Conference Congrès Annuel de l’AAUC University of Guelph/ Université de Guelph October 14-16 Octobre 2010 Schedule/Programme SESSIONS ON FRIDAY, OCTOBER 15 SESSION ONE - 9-10:30 AXELROD 380 Panel: New Ways of Seeing: Art, Visuality, and Surveillance, Part 1 Co-chairs: Sarah E. K. Smith & Susan Cahill, PhD Candidates, Queen’s University. Jeff Barbeau, PhD Candidate, Queen’s University “What You See Is What You Get: Thinking Through Aesthetics and the Biopolitical with Foucault and Ranciere” MACDONALD STEWART ART CENTRE – Upstairs lecture room Panel: Histories of Photography, Part 1 Chairs: Sarah Bassnett, The University of Western Ontario. Linda Steer, Brock University “Photography and the Beats” Sharon Sliwinsky. The University of Western Ontario “Profane Illumination: The Politics of Aesthetics in Lee Miller’s Blitz Photographs” AXELROD 286 Panel: Medieval Art and Architecture, Part 1 Co-Chairs: Malcolm Thurlby, York University & Dominic Marner, University of Guelph 1. Candace Bogdanski, PhD Candidate, York University “‘Ambulatories, Crypts and Apses: How to Make Saints’ Shrines More Accessible and Extravagant in Thirteenth Century Scottish Architecture” 2. Candace Iron, PhD Candidate, York University “Medieval Ontario: William Hay, Henry Langley and the changing face of Ontario Architecture in the 19th century” 3. Ronny Lvovski, PhD Candidate, York University “The frescoes in the church of San Julian de los Prados, Oviedo (c. 812-42)” 1 AXELROD 185 Panel: The Neoliberal Undead: First as Tragedy, Then as Farce Co-Chairs: Bruce Barber, NSCAD University & Marc James Léger, Independent Scholar 1. Marc James Léger, Independent Scholar, Montreal “Zombie Culture: Excellence, Exodus, and Ideology” 2. Leah Modigliani, Independent Scholar, Brooklyn “From Island-Hippy Artists to Vertical Cities: Conceptual Art in Vancouver” 3. -
SAMPLE MATERIAL for PREVIEW ONLY My Favourite Indigenous Art the ART EDITION
SAMPLE MATERIAL FOR PREVIEW ONLY My Favourite Indigenous Art THE ART EDITION I saw these Kwakwaka′wakw (kwahk-wahk-ee-wahk) masks at the U’mista Cultural Centre when I visited Alert Bay in British Columbia. They caught my eye right away and I could NOT stop looking at them. They haunt my dreams to this day! Why do I like them? Well, although they’re SAMPLEcarved from wood, these masks MATERIAL seem alive. They have an expression, and their eyes seem to follow you. I’ve since been back to the U’mista Centre to learn more about the masks and Kwakwaka′wakw culture. — Pam K., Winnipeg, Manitoba IN THIS EDITION By Jackie Taypotat and Calvin Racette My Favourite Indigenous Art 1 Painting a Painful Time 4 Listen! 6 What Does a Treaty Look Like? 8 NEL 1 I think Métis beadwork is really beautiful. It’s a unique style that was created by combining Indigenous beading techniques with European embroidery patterns. Someone told me you can identify a beader’s family by the patterns or flowers in the designs. Métis beadwork designs include not just flowers but also buds, leaves, and stems. That shows a real connection to nature and the way plants grow. I like the way the beadwork makes everyday things special, like gauntlets, moccasins, and octopus bags like this one. These bags were traditionally used to carry flint, steel, tobacco, and pipes. — Jason W., Saskatoon, Saskatchewan Can you believe that this beautiful flower is made from caribou hair? Caribou-hair-tufted flowers take a lot of work. -
The Maple Leaf Rag Friends of the Canadian Collections Amis Des Collections Canadiennes SPRING 2016
The Maple Leaf Rag Friends of the Canadian Collections Amis des Collections Canadiennes SPRING 2016 The AGM of the Letter from the Chair: Friends of the Canadian Collec- This issue is dedicated to Canadian painters tions/Amis des collections canadi- and paintings. We hope that you will visit the ROM to see these and detect many more ennes interesting paintings on your strolls through Wed. May 11, 2016, 2 pm. the galleries. TK Boardroom Last year’s fundraising centered on Arlene Gehmacher’s project of publishing volume Marti Latta, Professor emeritus, Anthropoly, University of Toronto will hold a lecture titled: III of a catalogue of Canadian watercolors and drawings. We had a good campaign and Champlain’s Cahiagué and the raised $14,115.00 towards this project. A big Warminster Site. THANK YOU to all who made this possi- Samuel de Champlain visited Ontario in 1615 ble. and 1616. His base of operations was the Huron village of Cahiagué. Archeological research at the Warminster Site, north of Orillia, by the PLEASE RENEW YOUR FCC University of Toronto between 1940 and 1978, has provided convincing evidence that this was MEMBERSHIP—WE COUNT ON Cahiagué, including a number of artifacts, YOUR SUPPORT which may be attributed to Champlain himself. When you renew your ROM membership, look As a result, this is the best dated site in Ontario, for the heading “Optional Donation” on the and it forms the basis for our understanding of membership form. Under “My gift is in support the Huron native people at the beginning of Eu- of…” scroll down to “Friends of the Canadian ropean contact. -
Contemporary Art Practice and Indigenous Knowledge
ZAA 2020; 68(2): 111–128 Gerald McMaster* Contemporary Art Practice and Indigenous Knowledge https://doi.org/10.1515/zaa-2020-0014 Abstract: Indigenous artists are introducing traditional knowledge practices to the contemporary art world. This article discusses the work of selected Indigenous artists and relays their contribution towards changing art discourses and under- standings of Indigenous knowledge. Anishinaabe artist Norval Morrisseau led the way by introducing ancient mythos; the gifted Carl Beam enlarged his oeuvre with ancient building practices; Peter Clair connected traditional Mi'kmaq craft and colonial influence in contemporary basketry; and Edward Poitras brought to life the cultural hero Coyote. More recently, Beau Dick has surprised interna- tional art audiences with his masks; Christi Belcourt’s studies of medicinal plants take on new meaning in paintings; Bonnie Devine creates stories around canoes and baskets; Adrian Stimson performs the trickster/ruse myth in the guise of a two-spirited character; and Lisa Myers’s work with the communal sharing of food typifies a younger generation of artists re-engaging with traditional knowledge. 1 Introduction Indigenous contemporary art, whether practised on Canada’s West Coast, the Prairies, the Great Lakes, the Maritimes, or the Arctic, has always been inextrica- bly tied to Indigenous or traditional knowledge. In virtually all regions of Canada, it is the bond that gives Indigenous contemporary artists a particular identity amongst other artists. In the not-so-distant past, many artists of Indigenous her- itage eschewed adjectives such as ‘Indigenous’ or ‘Indian’ or ‘Native,’ feeling these labels marginalized them within the art world. Today, however, many have proudly taken on the mantle of Indigeneity, in large part because it suggests a particular consciousness shared by other First Peoples in other parts of the world (see McMaster 2017). -
2010 Annual Report Justice for Indigenous Peoples
2010 AnnuAl RepoRt JUSTICEJUSTICE FOR INDIGENOUS FOR INDIGENOUS PEOPLES PEOPLES JUSTICEJUSTICE FOR INDIGENOUS FOR INDIGENOUS PEOPLES PEOPLES CENTROCENTRO DE RECURSOS DE RECURSOS JURID JURIDÍCOS PAÍCOSRA PALORAS PUEBL LOS PUEBLOS INOSDÍGENAS INDÍGENAS CENTROCENTRO DE RECURSOSDE RECURSOS JURIDICOS JURIDICOS PARA PALOSRA PUEBLLOS PUEBLOS INDÍGENASOS INDÍGENAS who we are “We work to protect the legal rights, cultures and environments of Indian nations and other indigenous peoples of the Americas.” ouR mission stAtement ouR puRposes And goAls he Indian Law Resource Center provides ndian nations and tribes and other indigenous legal assistance to indigenous peoples of the communities throughout the world are afflicted Americas to combat racism and oppression, to by poverty, poor health and discrimination. Many Tprotect their lands and environment, to protect INative communities are subjected to grave human their cultures and ways of life, to achieve sustainable rights abuses. Indian land and natural resources are economic development and genuine self-government, often expropriated or degraded. When indigenous and to realize their other human rights. peoples are deprived of their ways of life and their ties to the earth, they suffer. Many have disappeared The Indian Law Resource Center seeks to overcome completely. Profoundly aware that when any culture the grave problems that threaten Native peoples by ceases to exist, the whole world is diminished advancing the rule of law, by establishing national and irrevocably, the Indian Law Resource Center’s principal international legal standards that preserve their human goal is the preservation and well-being of Indian and rights and dignity, and by challenging the governments other Native nations and tribes.