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Sophie Frank
LINEAGES AND LAND BASES FINAL DIDACTICS 750 Hornby Street Vancouver BC V6Z 2H7 Canada Tel 604 662 4700 Fax 604 682 1787 www.vanartgallery.bc.ca lineages and land bases The artworks gathered for this exhibition address differing understandings lineages and land bases presents works from the Vancouver Art Gallery’s of the self and personhood in relation to nature, a concept that is culturally, permanent collection by artists who have challenged the nature-culture historically and linguistically informed. divide, seeking new ways to conceptualize and represent their relation to the world around them while grappling with the troubled inheritance of settler Sḵwx̱wú7mesh sníchim (the Squamish language) has no word for nature, colonialism. At the centre of the exhibition is a case study that assesses the although it has many words that relate to the land and water. Within this intersections between the basketry of Sewiṉchelwet (Sophie Frank) (1872– worldview, people are intimately bound to non-human entities, such as plants, 1939), a woman from the Sḵwx̱wú7mesh Úxwumixw (Squamish Nation), and rocks, animals or places, locating subjectivity well beyond humans. In contrast, the late landscape paintings of Emily Carr (1871–1945). The two women were the modern Euro-Canadian distinction between nature and culture provided close contemporaries and friends for 33 years, a relationship also shaped by the foundation, in the early 20th century, for the development of a national the profound inequalities of their time. The comparison of these two distinct, art and identity in Canada. Paintings of vast empty landscapes premised yet interconnected, perspectives both prefigures and extends the critique of an idea of wilderness that effectively erased Indigenous presence from the the separation of nature and culture seen elsewhere in the exhibition, urging us representation of nature at the same time that these communities were being to think anew about the meaning of self and its ties to the non-human world. -
Bill Reid Gallery Re-Opens ANd Commemorates 100Th Anniversary of One of Canada's Most Renowned Indigenous Artists In
FOR IMMEDIATE RELEASE June 9, 2020 Bill Reid Gallery Re-opens and Commemorates 100th Anniversary of One of Canada’s Most Renowned Indigenous Artists in – To Speak With a Golden Voice – Exhibition brings fresh perspective to Bill Reid’s legacy with rarely seen artworks and new commissions by Northwest Coast artists inspired by his life and practice VANCOUVER, BC — Bill Reid Gallery of Northwest Coast Art re-opens the gallery and celebrates the milestone centennial birthday of Bill Reid (1920–1998) with an exhibition about his extraordinary life and legacy, To Speak With a Golden Voice, from July 16, 2020 to April 11, 2021. Guest curated by Gwaai Edenshaw — considered to be Reid’s last apprentice — the group exhibition includes rarely seen treasures by Reid and works from artists such as Robert Davidson and Beau Dick. Tracing the iconic Haida artist’s lasting influence, two new artworks by contemporary artist Cori Savard (Haida) and singer-songwriter Kinnie Starr (Mohawk/Dutch/German//Irish) will be created for this highly anticipated exhibition. “Bill Reid was a master goldsmith, sculptor, community activist, and mentor whose lasting legacy and influence has been cemented by his fusion of Haida traditions with his own modernist aesthetic,” says Edenshaw. “Just about every Northwest Coast artist working today has a connection or link to Reid. Before he became renowned for his artwork, he was a CBC radio announcer recognized for his memorable voice — in fact, one of Reid’s many Haida names was Kihlguulins, or ‘golden voice.’ His role as a public figure helped him become a pivotal force in the resurgence of Northwest Coast art, introducing the world to its importance and empowering generations of artists.” Reid was born in Victoria, BC, to a Haida mother and an American father with Scottish-German roots. -
Dick Polich in Art History
ww 12 DICK POLICH THE CONDUCTOR: DICK POLICH IN ART HISTORY BY DANIEL BELASCO > Louise Bourgeois’ 25 x 35 x 17 foot bronze Fountain at Polich Art Works, in collaboration with Bob Spring and Modern Art Foundry, 1999, Courtesy Dick Polich © Louise Bourgeois Estate / Licensed by VAGA, New York (cat. 40) ww TRANSFORMING METAL INTO ART 13 THE CONDUCTOR: DICK POLICH IN ART HISTORY 14 DICK POLICH Art foundry owner and metallurgist Dick Polich is one of those rare skeleton keys that unlocks the doors of modern and contemporary art. Since opening his first art foundry in the late 1960s, Polich has worked closely with the most significant artists of the late 20th and early 21st centuries. His foundries—Tallix (1970–2006), Polich of Polich’s energy and invention, Art Works (1995–2006), and Polich dedication to craft, and Tallix (2006–present)—have produced entrepreneurial acumen on the renowned artworks like Jeff Koons’ work of artists. As an art fabricator, gleaming stainless steel Rabbit (1986) and Polich remains behind the scenes, Louise Bourgeois’ imposing 30-foot tall his work subsumed into the careers spider Maman (2003), to name just two. of the artists. In recent years, They have also produced major public however, postmodernist artistic monuments, like the Korean War practices have discredited the myth Veterans Memorial in Washington, DC of the artist as solitary creator, and (1995), and the Leonardo da Vinci horse the public is increasingly curious in Milan (1999). His current business, to know how elaborately crafted Polich Tallix, is one of the largest and works of art are made.2 The best-regarded art foundries in the following essay, which corresponds world, a leader in the integration to the exhibition, interweaves a of technological and metallurgical history of Polich’s foundry know-how with the highest quality leadership with analysis of craftsmanship. -
Mother Tongue Film Festival
2016–2020 Mother Tongue Film Festival Five-Year Report RECOVERING VOICES 1 2 3 Introduction 5 By the Numbers 7 2016 Festival 15 2017 Festival 25 2018 Festival 35 2019 Festival 53 2020 Festival 67 Looking Ahead 69 Appendices Table of Contents View of the audience at the Last Whispers screening, Terrace Theater, Kennedy Center. Photo courtesy of Lena Herzog 3 4 The Mother Tongue Film Festival is a core to the Festival’s success; over chance to meet with guest artists and collaborative venture at the Smithso- time, our partnerships have grown, directors in informal sessions. We nian and a public program of Recov- involving more Smithsonian units and have opened the festival with drum ering Voices, a pan-institutional pro- various consular and academic part- and song and presented live cultural gram that partners with communities ners. When launched, it was the only performances as part of our festival around the world to revitalize and festival of its kind, and it has since events. sustain endangered languages and formed part of a small group of local knowledge. The Recovering Voices and international festivals dedicated We developed a dedicated, bilingual partners are the National Museum of to films in Indigenous languages. (English and Spanish) website for Natural History, the National Museum the festival in 2019, where we stream of the American Indian, and the Cen- Over its five editions, the festival has several works in full after the festival. ter for Folklife and Cultural Heritage. grown, embracing a wide range of And, given the changing reality of our Through interdisciplinary research, audiovisual genres and experiences, world, we are exploring how to pres- community collaboration, and pub- drawing audiences to enjoy screen- ent the festival in a hybrid live/on- lic outreach, we strive to develop ef- ings often at capacity at various ven- line model, or completely virtually, in fective responses to language and ues around Washington, DC. -
TIFF Premiere: Sgaawaay K'uuna, the First Feature Film About the Haida People
Academic rigour, journalistic flair TIFF premiere: Sgaawaay K'uuna, the first feature film about the Haida people September 5, 2018 7.27pm EDT High school honour roll student Trey Arnold Rorick acts in the ‘Edge of the Knife.’ Rorick also works as a Cultural Interpreter at the K_ay Ilnagaay Haida Heritage Center. Facebook TIFF premiere: Sgaawaay K'uuna, the first feature film about the Haida people September 5, 2018 7.27pm EDT Sgaawaay K'uuna (Edge of the Knife), premiering at the Toronto International Film Author Festival, is the first feature film about the Haida people and in the Haida language. The mystery-thriller, directed by Gwaai Edenshaw and Helen Haig-Brown, started as a collaboration between myself at the University of British Columbia (UBC), the Inuit film production company Kingulliit and the Council of the Haida Nation (CHN). Leonie Sandercock Professor, University of British Columbia We hope the film will be a catalyst for language revitalization as well as community economic development. In 2012, fewer than one per cent of the Haida were fluent in the Haida language and most of those were over the age of 70, so the language was regarded as in crisis. Edge of the Knife emerged out the results of a community planning process our students had been involved in at Skidegate a year earlier, a year of community engagement and envisioning Haida hopes and dreams. The top three priorities identified by the Skidegate community were language revitalization, the creation of jobs that would keep youth on Haida Gwaii instead of moving to Vancouver and protecting the lands and waters of Haida Gwaii through sustainable economic development. -
A Haida Manga
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Kateřina Cvachová Indigenous Graphic Novel: Red: A Haida Manga Master’s Diploma Thesis Supervisor: Mgr. Martina Horáková, Ph.D. 2019 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature Acknowledgement I would like to thank Mgr. Martina Horáková, Ph.D. for her guidance during the time I was working on this thesis. Special thanks belong to Michael Nicoll Yahgulanaas for his kind and generous offer to help and answer questions regarding his work and for his permission to use his work in my thesis. Table of Contents Introduction ................................................................................................................................. 1 Manga and Western Comics ...................................................................................................... 5 The Background of Manga ..................................................................................................... 5 Manga and Comics Terminology ......................................................................................... 13 Sequential Art .................................................................................................................... 15 Time and Space in Comics ............................................................................................... 16 Panels................................................................................................................................. -
Building Resilience Through Partnership
BUILDING RESILIENCE THROUGH PARTNERSHIP 2019-2020 ANNUAL REPORT TABLE OF CONTENTS 1 HIGHLIGHTS 9 ACHIEVEMENTS 11 ABOUT US 14 MESSAGES MANAGEMENT DISCUSSION 18 AND ANALYSIS INDUSTRY AND 19 ECONOMIC CONDITIONS CORPORATE 28 PLAN DELIVERY ATTRACT ADDITIONAL FUNDING 29 AND INVESTMENT EVOLVE OUR FUNDING 33 ALLOCATION APPROACH OPTIMIZE OUR 45 OPERATIONAL CAPABILITY ENHANCE THE VALUE 50 OF THE “CANADA” AND “TELEFILM” BRANDS 57 FINANCIAL REVIEW 64 RISK MANAGEMENT CORPORATE SOCIAL 66 RESPONSIBILITY 70 TALENT FUND 81 GOVERNANCE FINANCIAL 95 STATEMENTS ADDITIONAL 117 INFORMATION TELEFILM CANADA / 2019-2020 ANNUAL REPORT 1 The Canadian industry and audiences embraced female voices and HIGHLIGHTS Indigenous expression in fiscal year 2019-2020. Telefilm remained committed to greater representation in the films we support and to bringing Canadian creativity to the world. LOOKING TO THE FUTURE, our vision is for Telefilm and Canada to strengthen their role of Partner of Choice—creating and building ties, expanding opportunities and deepening impact. BRINGING CANADIAN CREATIVITY TO THE WORLD The Canada-Norway coproduction THE BODY REMEMBERS WHEN THE WORLD BROKE OPEN, directed by KATHLEEN HEPBURN and ELLE-MÁIJÁ TAILFEATHERS, received praise around the world— premiering at the Berlin Film Festival in 2019, selected as “REMARKABLE” a New York Times Critic’s Pick and being called “remarkable” by the Los Angeles Times. The film went on to be picked up ★★★★★ by Ava DuVernay’s ARRAY releasing for U.S and international. levelFilm distributed the film in Canada, while Another World LOS ANGELES TIMES Entertainment handled Norway. TELEFILM CANADA / 2019-2020 ANNUAL REPORT 2 HIGHLIGHTS BRINGING CANADIAN CREATIVITY TO THE WORLD MONIA CHOKRI’s debut feature filmLA FEMME DE WINNER MON FRÈRE (A Brother’s Love), which she both wrote COUP DE CŒUR AWARD and directed, premiered at the Cannes Film Festival CANNES opening the Un Certain Regard section, bringing home FILM FESTIVAL the jury’s Coup de Cœur award. -
Robert Davidson Portfolio
Robert Davidson (b.1946) ARTIST BIOGRAPHY Robert Davidson, of Haida and Tlingit descent, is one of Canada’s most respected contemporary artists and central to the renaissance of Northwest Pacific indigenous art. He has championed the rich art tradition of his native Haida Gwaii, consistently searching ‘for the “soul” he saw in the art of his Haida elders’. As he works in both classical form and contemporary minimalism, Davidson negotiates a delicate edge between the ancestral and the individual, infusing traditional forms with an evolutionary spirit. Awards include National Aboriginal Achievement Award for Art and Culture, Order of British Columbia, Order of Canada, Queen’s Golden Jubilee Medal, British Columbia Aboriginal Art Lifetime Achievement Award, Governor General’s Award, and the commemorative medal marking the 60th anniversary of Queen Elizabeth II’s accession to the throne as Queen of Canada and honouring significant achievements by Canadians. Robert Davidson CV EDUCATION: In 1966 Davidson became apprenticed to the master Haida carver Bill Reid and in 1967 he began studies at the Vancouver School of Art. EXHIBITIONS | SELECTED 2015 – Robert Davidson: Progression of Form,Gordon Smith Gallery, North Vancouver, BC 2014 – Abstract Impulse, Seattle Art Museum, Seattle, WA Abstract Impulse, National Museum of the North American Indian, New York, NY 2011 – The Art of Robert Davidson, Western Washington University, Bellingham, WA 2010 – Visions of British Columbia: A Landscape Manual, Vancouver Art Gallery, Vancouver, BC Haida Art — Mapping -
Cabin Fever: Free Films for Kids! The
January / February 2019 Canadian & International Features NEW WORLD DOCUMENTARIES special Events THE GREAT BUSTER CABIN FEVER: FREE FILMS FOR KIDS! www.winnipegcinematheque.com January 2019 TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY SUNDAY 1 2 3 4 5 6 closed: New Year’s Day Roma / 7 pm Roma / 7 pm & 9:30 pm Roma / 7 pm & 9:30 pm Roma / 3 pm & 7 pm cabin fever: Coco 3D / 3 pm Canada’s Top Ten: Canada’s Top Ten: Anthropocene: Anthropocene: The Human Epoch / 9:30 pm The Human Epoch / 5 pm Roma / 7 pm 8 9 10 11 12 13 The Last Movie / 7 pm Roma / 7 pm Jean-Pierre Melville: Black Lodge: Secret Cinema Roma / 2:30 pm cabin fever: The Big Bad Dial Code Santa Claus / 9 pm Le samouraï / 7 pm with the Laundry Room / 7 pm Jean-Pierre Melville: Fox and Other Tales… / 3 pm Roma / 9 pm Canada’s Top Ten: Léon Morin, Priest / 5 pm Canada’s Top Ten: Anthropocene: Canada’s Top Ten: Anthropocene: The Human Epoch / 7 pm Anthropocene: The Human Epoch / 5 pm Roma / 9 pm The Human Epoch / 7:15 pm Genesis / 7 pm Genesis / 9 pm 15 16 17 18 19 20 The Last Movie / 7 pm Jean-Pierre Melville: Canada’s Top Ten: Jean-Pierre Melville: The Great Buster / 3 pm & 7 pm cabin fever: Buster Keaton’s Dial Code Santa Claus / 9 pm Léon Morin, Priest / 7 pm Anthropocene: Le doulos / 7 pm Canada’s Top Ten: Classic Shorts / 3 pm The Human Epoch / 7 pm Canada’s Top Ten: Anthropocene: The Great Buster / 5 pm Roads in February / 9 pm Anthropocene: The Human Epoch / 5 pm Jean-Pierre Melville: The Human Epoch / 9 pm Roads in February / 9 pm Le samouraï / 7 pm 22 23 24 25 26 27 The Last -
Shore, Forest and Beyond
An Introduction to the Gallery: Shore, Forest and Beyond Emily Carr War Canoes, Alert Bay , 1912 oil on canvas Collection of Michael Audain and Yoshiko Karasawa TEACHER’S STUDY GUIDE FALL 2011 1 Contents Page Program Information and Goals..................................................................................................................3 Background to the Exhibition ......................................................................................................................4 First Nations Art & Terminology: A Brief Introduction ................................................................................5 Artists’ Background......................................................................................................................................7 Pre- and Post-Visit Activities 1. Connecting the Artists, .............................................................................................................10 Artist Information Sheet............................................................................................................11 Student Worksheet....................................................................................................................12 2. Emily Carr: Colours, Shapes & Trees........................................................................................13 3. Art, Ideas & Inspiration .............................................................................................................15 Artist Quotes ..............................................................................................................................17 -
Sovereign Nation Press Release 2019
PRESS RELEASE 12.7.19 Immediate release Pitt Rivers Museum collaborate on Sovereign Nation: an international exchange between Haida artist Gwaai Edenshaw from Haida Gwaii, Canada and Anna Glynn and Robin Colyer from Flintlock Theatre The Pitt Rivers Museum are delighted to announce our collaboration with Oxford company Flintlock Theatre in support of their international exchange with Gwaai Edenshaw: a renowned indigenous Haida artist from the Haida Gwaii archipelago off the west coast of Canada. Supported by the New Conversations fund (provided by Farnham Maltings, the High Commission of Canada in the U.K and the British Council) and Arts Council England, the exchange centres on the Pitt Rivers Museum’s Star House Pole, which was purchased from the Haida people in 1901. In July 2019, Anna and Robin from Flintlock will visit the original site of the Star House Pole in the village of Old Masset and in March 2020, Gwaai will visit Oxford. During their visits, the artists will work with local people to explore Canada’s and the UK’s shared relationship to colonialism including, a weekend of workshops in Oxford for students from all six city state schools. Throughout the exchange, the artists will record their experiences via a series of short films that will be on display at the Pitt Rivers later in the year. The project was one of nine selected from over 100 applications. Janice Charette, High Commissioner of Canada in the UK, announced “Canada is proud to support these artistic collaborations between our country and the UK and we are especially pleased to be able to give some of these arts organisations their first chance to share their work internationally.” Gavin Stride, Director of the Maltings, said: “Our involvement in this programme is made possible through support and investment of Arts Council of England. -
A Fine Day in Masset: Christopher Auchter Revisits Crucial Moment in Haida Renaissance
NOW IS THE TIME A Fine Day in Masset: Christopher Auchter Revisits Crucial Moment in Haida Renaissance By Philip Lewis August 13, 2019 It was a fine day in Masset: August 22, 1969. For the first time in living memory, a traditional totem pole was being raised in the community. Surrounded by their extended families, members of the Eagle and Raven Clans formed parallel teams to leverage the towering structure into place alongside the old church where it still stands to this day. A NATIONAL FILM BOARD OF CANADA PRODUCTION NOW IS THE TIME A NATIONAL FILM BOARD OF CANADA PRODUCTION NOW IS THE TIME Elders would speak of “a forest of totem poles,” recalling a time when the giant carvings were common throughout the Haida Gwaii archipelago, but by the late 1960s most had vanished — suppressed by Christian missionaries and assimilationist laws that aimed explicitly to eradicate Indigenous identity from the Canadian landscape. The new pole was the brainchild of Robert Davidson, also known by his Haida name, Guud San Glans, a visionary young artist who would reinvigorate the tradition, becoming a central figure in a vibrant Haida renaissance. While previous generations had kept Haida art alive with small-scale wooden and argillite carvings, Davidson was working a monumental scale that had not been seen in almost a century. Twenty-two-year-old Robert Davidson and his grandfather, Tsinii Robert. Hardly out of his teens at the time, Davidson and his project were the subject of a short NFB doc, released in 1970, called This Was the Time. But the film raised more questions than it answered, presenting events through the muddled lens of the dominant Euro-Canadian culture.