DOCSLIB.ORG

Witnesswitness

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Witnesswitness Title Page WitnessWitness Edited by Bonnie Devine Selected Proceedings of Witness A Symposium on the Woodland School of Painters Sudbury Ontario, October 12, 13, 14, 2007 Edited by Bonnie Devine A joint publication by the Aboriginal Curatorial Collective and Witness Book design Red Willow Designs Red Willow Designs Copyright © 2009 Aboriginal Curatorial Collective and Witness www.aboriginalcuratorialcollective.org All rights reserved under international copyright conventions. Published in conjunction with the symposium of the same title, October 12 through 15, 2007. Photographs have been provided by the owners or custodians of the works reproduced. Photographs of the event provided by Paul Gardner, Margo Little and Wanda Nanibush. For Tom Peltier, Jomin The Aboriginal Curatorial Collective and Witness gratefully acknowledge the financial support of the Canada Council for the Arts and the Ontario Arts Council Cover: Red Road Rebecca Belmore October 12 2007 Image: Paul Gardner Red Willow Designs Aboriginal Curatorial Collective / Witness iii Acknowledgements This symposium would not have been possible without the tremendous effort and support of the Art Gallery of Sudbury. Celeste Scopelites championed the proposal to include a symposium as a component of the Daphne Odjig retrospective exhibition and it was her determination and vision that sustained the project through many months of preparation. Under her leadership the gallery staff provided superb administrative assistance in handling the myriad details an undertaking such as this requires. My thanks in particular to Krysta Telenko, Nancy Gareh- Coulombe, Krista Young, Mary Lou Thomson and Greg Baiden, chair of the Art Gallery of Sudbury board of directors, for their enthusiasm and support. The Canada Council for the Arts and the Ontario Arts Council provided vital funding for Witness. Thank you in particular to Louise Profeit LeBlanc, Aboriginal Arts Coordinator at the Canada Council and Wanda Nanibush and Sara Roque, Aboriginal Arts Officers at the Ontario Arts Council. Many artists contributed to the spectacle and celebration that was Witness. To Rebecca Belmore, De-ba-jeh-mu-jig Theatre Group, Gloria May Eshkibok, Jacques and the Shakey Boys, Darla Fisher Odjig, Georgina Toulouse and the artists who presented their work in the open forum, Ahmoo Angeconeb, Jason Baerg, Christi Belcourt, Rvn Chartrand-Hunter, Darla Fisher Odjig and Dolly Peltier, Chi Miigwech, thank you. This publication of selected proceedings of the symposium was made possible by a partnership with the Aboriginal Curatorial Collective, (ACC). I’d like to thank Ryan Rice, chair of ACC, for the suggestion to collaborate on the publication and launch it on the ACC website as a downloadable book. Aboriginal Curatorial Collective / Witness iv A special thank you to publication designer Tania Willard of Red Willow Designs for her creative approach and her patience. Finally, I’d like to thank the artists and scholars who travelled from across the continent to present their ideas and research at Witness. They are beginning the work of writing an indigenous art history in an indigenous voice. The opportunity to meet them and hear them speak was an honour and privilege for all who attended. Their insight, diligence and generosity is the spirit of Witness. Chi-miigwech, Thank you. Bonnie Devine Aboriginal Curatorial Collective / Witness v Contents Introduction viii Witness Symposium Agenda x Welcome Statements xii Celeste Scopelites, Director/Curator Art Gallery of Sudbury x i i Angela Recollet, Laurentian University viii Darla Fisher Odjig, Artist x Carolyn Vesely, Ontario Arts Council xi Louise Profeit-LeBlanc, Canada Council for the Arts Contributing Writers: Biographies xiii Manitoulin Crucible of Creativity: 2 Margo Little The Formation of Professional Native Artists Inc., 20 The Indian Group of Seven Joseph Sanchez Algonkian Pictographic Imagery 36 Sherry Farrell Racette Critical Issues in Art Education 54 Tom Peltier Aboriginal Curatorial Collective / Witness vi In the Spirit of our Ancestors: 66 Who We Are and Where We Come From Sandy Wabegijig An Ojibwa in Paris 84 Robert Houle The Modernists: 96 The Art of Daphne Odjig and Oscar Howe Barry Ace An Anishnaabe Tale 130 Leland Bell Glenna Matoush, Requickening 140 Ryan Rice A Curator Reflects, 152 Towards a Haudenausaunee Perspective Greg Hill Alex Janvier, Closing Remarks 164 Carrying the Vision Aboriginal Curatorial Collective / Witness vii Introduction, Bonnie Devine 2-3 pgs Introduction The gathering in Sudbury called Witness brought together some of the most influential and renowned artists and scholars in the world of contemporary Canadian Aboriginal art. Hosted by the Art Gallery of Sudbury and Laurentian University from October 11 to 14, 2007, Witness coincided with the opening of The Drawings and Paintings of Daphne Odjig, a Retrospective Exhibition, at the Art Gallery of Sudbury. Aboriginal artists, activists, curators and art historians came together for a weekend of talk and celebration to honour Daphne Odjig, and reflect on the history, current state and future of contemporary Aboriginal art, especially the Anishnaabe style that emerged in the 1960s in Ontario and came to be known as the Woodland School. Among the noted guests, performers and speakers at the symposium were Daphne Odjig, performance artists Rebecca Belmore and De- ba-jeh-mu-jig Theatre Group; painters Leland Bell, Blake Debassige, Robert Houle, Alex Janvier and Joseph Sanchez; curators Barry Ace, Greg Hill and Ryan Rice; scholars and educators Tom Peltier, Sherry Farrell Racette, and Sandra Wabegijig and historians Alan Corbiere and Margo Little. Witness was particularly honoured to welcome Daphne Odjig, Alex Janvier, and Joseph Sanchez, who are the surviving members of Professional Native Artists Inc., popularly known as the Indian Group of Seven. This seminal group formed in the early 1970s in Winnipeg and also included Norval Morriseau, Jackson Beardy, Carl Ray, and Eddie Cobiness. In his paper, Joseph Sanchez describes the origins and enduring influence of this collective of artists of Native ancestry. Presentations by Barry Ace, Ryan Rice, and Greg Hill provide contemporary and Aboriginal Curatorial Collective / Witness viii Introduction, Bonnie Devine 2-3 pgs historical curatorial perspectives. Leland Bell, Sandra Wabegijig, the late Tom Peltier, all of Wikwemikong, and artist and art historian Dr. Sherry Farrell Racette of Timiskaming, offer illuminating context and historical background toward an understanding and appreciation of Woodland pictorial traditions, while Robert Houle’s paper offers a rare glimpse into an artist’s imaginative and investigative process. Finally, impromptu closing remarks by Alex Janvier remind us of the inspiration and fortitude that sustains and drives all creative endeavour. Two memorable performance pieces premiered at Witness. The first, Red Road, by Rebecca Belmore, took place on a winding rain-soaked path outside the Fraser Auditorium on the grounds of Laurentian University. Lit by a parked car’s headlights and the light of lampposts, the audience watched Belmore enact the passionate commitment of an artist at her work. Dear Daphne, created and performed by De-ba-jeh-mu-jig Theatre Group, was a beautifully staged series of vignettes, which were punctuated by statements read by the young actors to Odjig, who was seated in the audience. Witness was a celebration and an education. Old friendships were renewed, new ones begun. Young artists met their idols, elders saw the promise of the future. The Aboriginal Curatorial Collective in collaboration with Witness is pleased and honoured to present this collection of selected proceedings of the historic event. Bonnie Devine Witness Artistic Director and Editor 2009 Aboriginal Curatorial Collective / Witness ix Witness: A Symposium on the Woodland School Agenda October 11 – 14, 2007 A collaborative production by Bonnie Devine and the Art Gallery of Sudbury Venues: Art Gallery of Sudbury Thursday October 11, 2007 The Fraser Auditorium, Art Gallery of Sudbury Laurentian University 6 pm to 9 pm 1500 Pub and Grill Opening Reception Sudbury Ontario The Drawings and Paintings of Daphne Odjig; A Retrospective Exhibition Friday October 12, 2007 Fraser Auditorium, Laurentian University 9 am to 5:30 pm Honour Song: Debbie Robertson Welcome: Celeste Scopelites, Art Gallery of Sudbury, Angela Recollet , Laurentian University Address to Daphne Odjig: Darla Fisher Odjig Symposium presentations: Margo Little, Manitoulin: Crucible of Creativity Alan Corbiere: Origins of the Ojibwe Cultural Foundation Joseph Sanchez, The Formation of Professional Native Artists Inc., The Indian Group of Seven Sherry Farrell Racette, Algonkian Pictographic Imagery Thomas Peltier, Critical Issues in Art Education Aboriginal Curatorial Collective / Witness x Open Forum, Artists’ presentations of their current work: Ahmoo Angeconeb, Jason Baerg, Christi Belcourt, Rvn Chartrand-Hunter, Darla Fisher Odjig, Dolly Peltier 8 pm to 10 pm Two performances Rebecca Belmore, Red Road De-ba-jeh-mu-jig Theatre Group, Dear Daphne Saturday October 13, 2007 Fraser Auditorium, Laurentian University 9 am to 5:30 pm Sandra Wabegijig, In the Spirit of our Ancestors: Who We Are and Where We Come From Robert Houle, An Ojibwa in Paris Barry Ace, The Modernists: the Art of Daphne Odjig and Oscar Howe Blake Debassige, Untitled Presentation Leland Bell, An Anishnaabe Tale Ryan Rice, Glenna Matoush, Requickening Greg Hill, A Curator Reflects, Towards a
Load more

Recommended publications
  • The Writing on the Wall: the Work of Joane Cardinal-Schubert
    University of Calgary PRISM: University of Calgary's Digital Repository University of Calgary Press University of Calgary Press Open Access Books 2017-09 The Writing on the Wall: The Work of Joane Cardinal-Schubert Sharman, Lindsey University of Calgary Press http://hdl.handle.net/1880/52214 book http://creativecommons.org/licenses/by-nc-nd/4.0/ Attribution Non-Commercial No Derivatives 4.0 International Downloaded from PRISM: https://prism.ucalgary.ca THE WRITING ON THE WALL: The Work of Joane Cardinal-Schubert Edited by Lindsey V. Sharman ISBN 978-1-55238-950-8 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 the WRITING on the WALL THE WORK OF JOANE CARDINAL-SCHUBERT 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 Edited by Lindsey V. Sharman [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.
    [Show full text]
  • 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.
    [Show full text]
  • GCC(EI)/CNG 2013-2014 Annual Report
    40th Anniversary of the Grand Council of the Crees (Eeyou Istchee) YEARS 40 of MODERN CREE NATION-BUILDING A Special Tribute to the Trappers Who Stood Up for Our Rights Annual Report 2013-2014 Table of Contents Grand Council of the Crees (Eeyou Istchee) Message from the Grand Chief/Chairman 2 Message from the Deputy Grand Chief/ Vice-Chairman 12 Message from the Executive Director 18 Cree-Canada Relations 20 Cree-Québec Relations & Taxation 28 Natural Resources 43 Operations & Maintenance and Capital Grants 46 International Affairs 47 40th Anniversary of the Grand Council of the Crees (Eeyou Istchee) 52 Roundtable Community Tours 54 Cree Nation Government Message from the Director General 57 Message from the Treasurer 58 Government Services 61 Human Resources 66 Cree Human Resources Development 70 Environment and Remedial Works 83 Culture and Language 91 Capital Works and Services 105 Economic and Sustainable Development 115 Child and Family Services 133 Justice and Correctional Services 141 Eeyou Eenou Police Force 150 Leisure, Sports and Recreation 157 Youth Development 164 Cree Nation Youth Council 173 Cree First Nations – Chiefs and Offices 174 Council/Board Members – Executive/ Executive Committee Members 175 This year’s Annual Report celebrates the 40th year that the GCC(EI) was established through a look back in time. Front Cover Archive Photo: One of GCC’s first meetings held in a classroom by I. La Rusic, courtesy Beesum Communications. Annual Report 2013-2014 1 YEARS 40 of MODERN CREE NATION-BUILDING ᒋᔐᐅᒋᒫᐦᑳᓐ ᐅᑕᔨᒧᐎᓐ ᐁ ᐐᐦᑕᐦᒃ
    [Show full text]
  • Focusing on First Nations Art Matthew Ryan Smith, Ph.D
    From the SelectedWorks of Matthew Ryan Smith, Ph.D. Summer 2015 Focusing on First Nations Art Matthew Ryan Smith, Ph.D. Available at: https://works.bepress.com/matthewryansmith/104/ Focusing on First Nations Art EDWARD MORASSUT is an art Edward Morassut: I grew up in Sault Ste. and found many great pieces of Indigenous collector based in London, Ontario. Working Marie and I’ve gained an appreciation of art. The Panamick piece is a face with closely with art dealers, other collectors the natural beauty Northern Ontario has two loons flowing from its hair. I probably and the artists themselves, Morassut has to offer. In terms of collecting, I was always couldn’t even afford it at the time, but I had assembled an important collection of drawn to native art because it has simplicity to have it, you know? Canadian Indigenous pieces by artists while still conveying a tonne of meaning. Whose work are you most interested including Carl Ray, Alex Janvier and Joseph I’ve spent a lot of time on Manitoulin Island in collecting? Sanchez, who collaborated and influenced and enjoy scouting out the native art. each other as members of the famous artist Wikwemikong is one of the only unceded I’ve collected from all members of collective Professional Native Indian Artists reserves in the country, occupied by the the Professional Native Indian Artists Inc. Many of the works in his collection Ojibwa, Odawa and Potawatomi peoples. Incorporated, also known as the “Indian demonstrate a strong connection to the Their legends and the warmth of their Group of Seven.” land and nature, which reflects his own stories always resonated with me.
    [Show full text]
  • White Privilege Canada (WPSC), Brock University Academics & Activists: Advocating for Equity, Justice and Action September 30 – October 1, 2016
    White Privilege Canada (WPSC), Brock University Academics & Activists: Advocating for Equity, Justice and Action September 30 – October 1, 2016 Keynote Speakers Dr. Eddie Moore, Jr. Founder WPC, Community Activist and Scholar Dr. Eddie Moore Jr., is an internationally renowned scholar and community activist who is the Founder of the White Privilege Conference (WPC). Dr. Moore Jr., recently marked WPC’s 17th successful year. Dr. Moore Jr., is a prolific author, who has supported up and coming researchers and community activists in the field of antiracism. He has published books used in university courses that examine race and the need to redress systemic racial discrimination through an understanding of how whiteness and white supremacy operates in taken for granted social relations that undermine people of colour/ youth (in particular) and their future potential in becoming contributors to society. His latest book is entitled, Everyday White People Confront Racial and Social Injustice: 15 Stories. Edited by Eddie Moore Jr., Marguerite W. Penick-Parks, Ali Michael Foreword by Paul C. Gorski. See more at: www.eddiemoorejr.com Keynote title: “White Privilege 101: Getting in on the Conversations” Friday September 30, 2016 at 6pm David S. Howes Theatre This interactive, informational, challenging and energetic session examines and explores white privilege/oppression and the imperative that those promoting diversity must "get in on the conversations." Participants will leave with the skills and knowledge necessary to begin addressing issues of white privilege/oppression individually and institutionally. 1. Introductions 2. Introductory activities a. Components of Diversity b. We the People 3. Fundamental Definitions 4.Equity versus Equality 5.
    [Show full text]
  • 2019 Honorary Degree Recipient: Alex Janvier
    2019 Honorary Degree Recipient: Alex Janvier Alberta University of the Arts (AUArts) will bestow an Honorary Master of Fine Arts to world-renowned artist and alum Alex Janvier (CM, AOE, RCA, LLD) at its first convocation since its transition from Alberta College of Art and Design. Alex Janvier, Denesuline, from the Cold Lake First Nations, Treaty 6 Territory, has been a professional artist for several decades. Janvier is renowned for his distinct curved lines and use of bright colour combinations. His unique abstract style and his artistic ideas have blazed the trail for many First Nations and Canadian Artists. He received a Fine Arts Diploma with Honors in 1960 back when AUArts was Alberta College of Art and was the institution’s first Indigenous graduate. In 2012, the Art Gallery of Alberta hosted a major exhibition of 90 paintings of his work, including very large canvas originals and works shown to the public for the first time. One of his highest achievements was his solo travelling exhibition Alex Janvier: Modern Indigenous Master curated by the National Gallery of Canada from 2016 to 2018. The exhibition was well received and even made a stop at the Glenbow Museum in Calgary, Alberta last year. Notable public commissions include “Tsa Tsa Ke K’e” or “Iron Foot Place” at Rogers Place in Edmonton, Alberta, and the diptych, site specific installation of “Sunrise” and “Sunset” at the Legislative Assembly of Alberta installed in March of this year. Even at 84 years of age, Janvier has no intention of slowing down. “The best art I did, was the ones I didn’t get to yet,” he said when asked about his work.
    [Show full text]
  • Table of Contents Chairman’S Report 2009-10
    Table of Contents Chairman’s Report 2009-10 .................................................................................................................................. 3 Public Establishments and the Board of Directors ........................................................................................... 6 Legislative Background ............................................................................................................................. 6 REGIONAL ESTABLISHMENTS ............................................................................................................ 7 COMMUNITY MIYUPIMAATISIIUN CENTRES ....................................................................................... 7 Members of the Board of Directors ........................................................................................................... 8 Members of the Administrative Committee ............................................................................................. 10 Members of the Audit Committee ........................................................................................................... 10 Managerial Personnel ............................................................................................................................. 11 Organizational Chart ............................................................................................................................... 14 Cree Population Statistics ......................................................................................................................
    [Show full text]
  • 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.
    [Show full text]
  • Analyse D'œuvres Du Style Artistique Woodland
    TRACES DE PEINTURE ARTIDAVI_VF1_Fiche1 Analyse d’œuvres du style artistique Woodland Norval Morrisseau est considéré comme le père du style artistique Woodland. Au cours des années 1970, il s’est affilié à une coopérative d’artistes, desquels certains ont adopté des aspects de ce langage artistique du style Woodland. Par la suite, il y a eu une relève formée d’une nouvelle génération de peintres qui ont trouvé leur inspiration dans ce style, et ce courant se poursuit encore aujourd’hui. Dans cet exercice, tu exploreras des œuvres de ces deux groupes d’artistes : ceux qui étaient à l’origine, et ceux de la relève. Citation de Daphne Odjig : « Nous sommes un peuple vivant et une culture vivante. Je suis convaincue que notre destin est de progresser, d’expérimenter et de développer de nouveaux modes d’expression, comme le font tous les peuples. Je n’ai pas l’intention de rester figée dans le passé. Je n’suis pas une pièce de musée. » Source : Les dessins et peintures de Daphne Odjig : Une exposition rétrospective, Bonnie Devine, Robert Houle et Duke Redbird, 2007. Consigne Tu analyseras deux œuvres, une de chaque groupe. Les œuvres du premier groupe sont celles d’artistes qui ont côtoyé Norval Morrisseau et comme lui, ont adopté un langage artistique similaire. Leurs couleurs plutôt ternes avec l’ocre très présent rappellent celles des pictogrammes et peintures rupestres sur les rochers dans la région des Grands Lacs où ce style est né. Bien que ces œuvres présentent des ressemblances, le style de plusieurs de ces artistes se transformera dans une forme personnelle, surtout à partir des années 1980, quand on verra émerger l’usage de couleurs éclatantes.
    [Show full text]
  • Knowledge Organiser: How Do Artists Represent Their Environment
    Knowledge Organiser: How do Artists represent their environment through painting? Timeline of key events 1972 – Three First Nations artists did a joint exhibition in Winnipeg 1973 – Following the success of the exhibition, three artists plus four more, created Indian Group Of Seven to represent Indian art and give it value and recognition. 1975 – Group disbanded Key Information Artists choose to work in a particular medium and style. They represent the world as they see it. Key Places Winnipeg, Manitoba, Ontario, British Columbia, Alberta Key Figures Daphne Odjig 1919 – 2016 Woodland style, Ontario; moved to British Columbia Alex Janvier 1935 – present Abstract, represent hide-painting, quill work and bead work; Alberta Jackson Beardy 1944 - 1984, Scenes from Ojibwe and Cree oral traditions, focusing on relationships between humans and nature. Manitoba. Eddy Cobiness 1933 – 1996 Life outdoors and nature; born USA moved to winnipeg Norval Morrisseau 1931 – 2007 Woodland stlye; Ontario, also known as Copper Thunderbird Carl Ray 1943 – 1978 Woodland style, electrifying colour (founder member); Ontario Joseph Sanchez 1948 – present Spritual Surrealist; Born USA moved to Manitoba Christi Belcourt 1966 – present Metis visual artist, often paints with dots in the style of Indian beading – Natural World; Ontario Key Skills Drawing and designing: Research First Nations artists. Identify which provinces of Canada they come from. Compare and contrast the works of the different artists. Take inspiration from the seven artists to plan an independent piece of art based on the relevant artist: • Give details (including own sketches) about the style of some notable artists, artisans and designers. • type of paint, brush strokes, tools Symbolic representation • Create original pieces that show a range of influences and styles based on the Indian Group of Seven and their work.
    [Show full text]
  • Chronology of Daphne Odjig's Life: Attachment #1
    Chronology of Daphne Odjig’s life: Attachment #1 Excerpt p.p. 137 – 141 The Drawings and Paintings of Daphne Odjig: A Retrospective Exhibition by Bonnie Devine Published by the National Gallery of Canada in collaboration with the Art Gallery of Sudbury, 2007 1919 Born 11 September at Wikwemikong Unceded Indian Reserve, Manitoulin Island, Ontario, the first of four children, to Dominic Odjig and his English war bride Joyce Peachy. Odjig’s widowed grandfather, Jonas Odjig, lives with the family in the house he had built a generation earlier and which still stands in Wikwemikong today. The family is industrious and relatively prosperous by reserve standards. Jonas Odjig is a carver of monuments and tombstones; Dominic is the village constable. The family also farms their land, raises cows, pigs, and chickens and owns a team of horses. 1925 Begins school at Jesuit Mission in Wikwemikong. An avid student, she turns the family’s pig house into a play school where she teaches local children to read and count. When they tire of her instruction she converts the play school into a play church and hears their confessions. The family is musical. Daphne plays the guitar; Dominic the violin. They all enjoy sing-a-longs and music nights listening to a hand-cranked phonograph. She develops a life-long love of opera singing. She is athletic and participates in the annual fall fairs at Manitowaning, the nearest off-reserve town, eight miles away, taking prizes in running and public speaking. Art is her favourite subject and she develops the habit of sketching with her grandfather and father, both of whom are artistic.
    [Show full text]
  • Overlapping Violent Histories: a Curatorial Investigation Into Difficult Knowledge Curated by Noor Bhangu
    Overlapping Violent Histories: A Curatorial Investigation into Difficult Knowledge Curated By Noor Bhangu February 9 - March 9, 2018 Kitchen-Table Discussion: March 8, 12:30-1:30 PM Winnipeg is no stranger to violence or violent histo- heels of such projects, Overlapping Violent Histories: general audience that happens to encounter the work ries. Its geographical position at the heart of Canada A Curatorial Investigation into Difficult Knowledge in the oft-decontextualized setting of the art gallery. and its cultural position as a meeting ground be- brings together the work of Jackson Beardy, Caroline Of course, as a curator of this exhibition I, too, plead tween diverse communities have pushed it to play Dukes, Takao Tanabe, and KC Adams to consider the guilty on counts of decontextualisation by favouring host to the darkest of local, national, and international place of historical trauma in each artist’s practice. In specific elements of a work and leaving out others. currents, including the ongoing colonization of Indig- deliberately drawing on the cross-cultural intersection I take refuge in Luis Camnitzer’s theorization of the enous people, Japanese internment, the settlement between the artists, I aim to build on the potential for curatorial order: “The discourse or thesis of the curator of Icelandic immigrants in Gimli, the influx of Russian visual art and exhibition spaces to function as sites for may contradict the discourse of the artist, because Mennonites and Jewish holocaust survivors in the social-engaged dialogues. the curator extrapolates from the presentation of twentieth century, and the marginalization of Euro- artworks in a way that is not necessarily determined pean immigrants and immigrants of colour.
    [Show full text]