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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. -
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. -
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/. -
CURRICULUM VITAE: Barry Ace | Barryacearts
CURRICULUM VITAE: Barry Ace www.barryacearts.com | [email protected] SELECTED GROUP AND SOLO EXHIBITIONS Upcoming (2021 - 2022) Wrapped in Culture. Group exhibition. Organizer – Rosalie Favell. Curator – Wahsontiio Cross. Queen Victoria Museum and Art Gallery, Launceston, Tasmania. (January 15 - May 16, 2021). Anishinaabe-bimaadiziwin. Solo Exhibition. Curators – Danny Hussey and Bridget Thompson. Central Art Garage, Ottawa, Ontario (April 2021). Wrapped in Culture. Group exhibition. Organizer – Rosalie Favell. Curator – Wahsontiio Cross. Footscray Community Arts Center, Melbourne, Australia. (August 1 – September 31, 2021). Wrapped in Culture. Group exhibition. Organizer – Rosalie Favell. Curator – Wahsontiio Cross. Thunder Bay Art Gallery, Thunder Bay, Ontario. (Fall 2021 – Winter 2022). waabiganikaade / it is made of clay. Solo exhibition. Curator – Denis Longchamps. Canadian Clay and Glass Gallery. Waterloo, Ontario. (Summer 2022). Current (2020 – ongoing) J. S. McLean Centre for Indigenous & Canadian Art. Group Exhibition. Art Gallery of Ontario, Toronto, Ontario. (July 1, 2018 – ongoing) Canadian and Indigenous Galleries. Group Exhibition. National Gallery of Canada, Ottawa, Ontario. (September 1, 2019 – ongoing) To Be Continued: Troubling the Queer Archive. Group Exhibition. Curators – Anna Shah Hoque and Cara Tierney. Carleton University Art Gallery, Ottawa, Ontario. (September 24 – May 16, 2020). Barry Ace | www.barryacearts.com 1 2020 Wrapped in Culture. Group exhibition. Organizer – Rosalie Favell. Curator – Wahsontiio Cross. Art Gallery of Algoma, Sault Ste. Marie, Ontario. (September 12 – November 14, 2020) Àbadakone / 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) 2019 mazinigwaaso / to bead something: Barry Ace: Bandolier Bags as Cultural Conduit. Solo exhibition. -
Dispatch Format: 7,3” X 4,8” R02 Date De Parution:
CARFAC Ontario’s quarterly newsletter D ISPATCH V OLUME 23 - I SSUE 1 - S PR I NG /S UMMER 2017 EMERGING ARTISTS & COLLecTIVES Features: Interview with Michael Vickers of Akin | Forever Emerging: Con- fessions and Tips from a Recent Art School Graduate Plus: CARFAC Ontario Member Exhibition Listings | Grants Calendar | Keeping you Connected... Local News from Across the Province Content: Executive Director’s Report | P 1 President’s Message | P 2 Interview with Michael Vickers | by Elissa Pendergast | P 3 Forever Emerging: Confessions and Tips from a Recent Art School Graduate | by Dainesha Nugent-Palache | P 5 Keeping you Connected ... Local News from We moved to a new unit Across the Province | P 8 in the same building. CARFAC Ontario Member Exhibition Listings | P 10 Our new address as of May 1, 2017: | Grants Calendar P 15 CARFAC Ontario 414 - 401 Richmond Street West Toronto ON M5V 3A8 INSURANCE DESIGNED FOR VISUAL ARTISTS Coverage for artworks • at your studio, in transit, at fairs • worlwide coverage available Coverage for your tools, equipment, materials, etC. Coverage for your general liability • worlwide coverage available Coverage for Commissioned art and publiC art visual artists members of CarfaC-ontario assurart offers insurance brokerage services are eligible to a 15 % * to individuals and businesses in the art industry. group discount. toll-free 1 855 382-6677 | www.assurart.com *some admissibility criteria may apply. # dossier: 15049- ASS Client: AssurArt Dpi: 300 dpi. Date: 10/09/2015 Campagne: Automne 2015 Couleur: CMYK Pers Ress: Line Brochu Publication: CARFAC ontario dispatch Format: 7,3” x 4,8” R02 Date de parution: --/--/-- Executive Director’s Report Dear CARFAC Ontario On the advocacy front, we were disappointed to members, see no mention of the Artist Resale Right (ARR) in the recent federal budget announcement despite With spring comes change an explicit recommendation from the Standing and I’m excited to let Committee on Finance to amend the Income Tax you know that CARFAC Act and Copyright Act to provide for the ARR. -
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. -
Mcmichael Magazine ISSN 2368-1144 from the Mcmichael Canadian Art Collection of Contemporary Northwest Coast Art Transforming Spirit: the Cameron/Bredt Collection
ISSUE THREE | SUMMER & FALL 2015 2015 ISSUE THREE | SUMMER & FALL McMichael Magazine ISSN 2368-1144 ISSN From the McMichael Canadian Art Collection CAN $4.95 of Contemporary Northwest Coast Art Coast Northwest Contemporary of Collection Spirit: The Cameron/Bredt Transforming 7: Professional Native Indian Artists Inc. Frank (Franz) Johnston Thom Sokoloski McMichael Magazine / I Board of Trustees From the Permanent Collection On the Cover Upkar Arora, Chair Joan Bush Don Yeomans (b. 1958), Bear Peter Carayiannis Mask (detail), 2009, red cedar, Tony Carella paint, 99.4 x 61.5 x 31.8 cm, Gift Andrew Dunn Diana Hamilton of Christopher Bredt and Jamie Anita Lapidus Cameron, McMichael Canadian Linda Rodeck Art Collection, 2014.6.49 John Silverthorn Tina Tehranchian Michael Weinberg Diane Wilson Rosemary Zigrossi Ex-officio Victoria Dickenson Executive Director and CEO Guests Meegan Guest, Director-in-Training Jane Knop, Director-in-Training Christopher Henley, Foundation Chair Maurice Cullen (1866–1934), Chutes aux Caron, c. 1928, Geoff Simpson, Volunteer Committee President oil on canvas, 102.3 x 153 cm, Gift of Mrs. Janet Heywood, McMichael Canadian Art Collection, 2003.1 McMichael Canadian Art Foundation Board of Directors Christopher Henley, Chair Victoria Dickenson, President David Melo, Treasurer Upkar Arora Jordan Beallor Isabella Bertani Mark Bursey Doris Chan Susan Hodkinson Iain MacInnes Doug McDonald McMichael Honorary Council The McMichael Vision Harry Angus John Bankes H. Michael Burns To be recognized as an extraordinary Jamie Cameron Robert C. Dowsett Jan Dymond place to visit and explore Canadian culture Dr. Esther Farlinger, O.Ont George Fierheller, C.M. and identity, and the connections between Hon. -
Upcoming Events
Upcoming Events JANUARY Welcome to the January edition of the E-Voice! Check out all the events happening around the province Office Closed Archaeology Centre this month. (1‐1730 Quebec Avenue) JANUARY Department of Archaeology & Anthropology Lecture Series 4:30 ‐ 6:00 pm ARTS 102 (9 Campus Drive) Don't forget to sign up or renew your 2019 SAS membership too! You can either give us a call JANUARY Saskatoon (306-664-4124), stop by, fill out the form (PDF) or go online to our website. Remember our student Archaeological Society Monthly Meeting rate is now only $15/year! 7:00 pm Room 132, Archaeology Building We're starting up our Drop-In Tuesdays again this month. Stop by on January 30th from 1:30 - 3:30 pm 55 Campus Drive at the Archaeology Centre to see what we're up to, chat about all things archaeology, and have a JANUARY Drop‐In Tuesdays coffee/tea and some tasty treats! 1:30 ‐ 3:30 pm Archaeology Centre Stay tuned to our website and social media pages for information on archaeological happenings in the (1‐1730 Quebec Avenue) province and across the world. Each week we feature a Saskatchewan archaeological site on our #TBT "Throwback Thursdays" and archaeology and food posts on our #FoodieFridays! About the SAS Office Hours: Monday to Thursday 9:00 am - 4:00 pm The Saskatchewan Archaeological Friday: by appointment only Society (SAS) is an independent, charitable, non-profit organization that was founded in 1963. We are one of the largest, Seasonal Closure: Monday, January 1st, 2019 to Friday, January 4th, 2019 inclusive most active and effective volunteer organizations on the We will reopen for regular office hours on Monday, January 7th, 2019 at 9:00 am. -
Annual Report 2015–2016 | Annual Report
2015–2016 | Annual Report 2015–2016 | Annual Report Contents McMichael Philosophy 1 McMichael Canadian Art Collection: A Year in Review 2 On Display from the McMichael Collection 7 Special Exhibitions 10 Loans 12 Acquisitions 14 A Tribute to Our Donors 24 Board of Trustees 28 McMichael Canadian Art Foundation 28 McMichael Honorary Council 28 Staff 28 McMichael Volunteer Committee 28 Financial Statements 29 Comparative Statistics 46 Front cover: Henry Speck (b. 1937), Hamat’sa Crooked Beak, 2005, red cedar, cedar bark, marine gloss enamel, copper, felt, rope, twine, 92.7 x 83 x 29.5 cm, Gift from the Cameron/Bredt Collection, McMichael Canadian Art Collection, 2014.6.38. Photograph by Craig Boyko McMICHAEL PHILOSOPHY McMichael Vision To be recognized as an extraordinary place to visit and explore Canadian culture and identity, and the connections between art and nature Extraordinary place to visit A physical and virtual gathering place that provides an engaging and continually changing experience to targeted audiences and communities driving new and repeat visits Explore Canadian culture and identity Enables our users to understand who we are as Canadians and where we fit in the global context over time, through the medium of art Connections between art and nature Bringing together, integrating, the visual arts with the natural world to create a cultural landscape that combines works of nature and people McMichael Mission To interpret and promote Canadian and Aboriginal art, to attract local, national, and international audiences McMichael -
CURRICULUM VITAE: Barry Ace
CURRICULUM VITAE: Barry Ace www.barryacearts.com | [email protected] Barry Ace – Anishinaabe (Odawa), b. 1958 Barry Ace is a practicing visual artist and currently lives in Ottawa, Canada. He is a band member of M’Chigeeng First Nation, Manitoulin Island, Ontario, Canada. His mixed media, assemblage and textile works explore various aspects of cultural continuity and the confluence of the historical and contemporary. Drawing inspiration from multiple facets of traditional Anishinaabeg (Odawa) culture gathered from historical sources, traditional knowledge, found objects and cultural research, Ace creates objects and imagery that utilize many traditional forms and motifs. By disrupting the reading of these works with the introduction of other elements, Ace endeavours to create a convergence of the historical and contemporary. He states, “My textile and paper works replicate traditional Great Lakes’ floral motifs often sourced from reclaimed and salvaged electronic schematics and circuitry (capacitors and resistors) that act as metaphors for cultural continuity (antithesis of stasis), bridging the past with the present and the future. In doing so, my work intentionally integrates traditional cultural art practices, such as beadwork, which is then juxtaposed against contemporary ephemera, breaking new ground as a distinct genre of contemporary indigenous abstraction.” As a practicing visual artist, Ace has been exhibiting since the 1990s, his work has been included in numerous group and solo exhibitions, including: