DOCSLIB.ORG

ON the SHORES of ODOONABII-ZIIBI:Anishinaabe Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ON the SHORES of ODOONABII-ZIIBI:Anishinaabe Art ON THE SHORES OF ODOONABII-ZIIBI: Anishinaabe Art from the Trent University Art Collection Curated by Jon Lockyer ogojiwanong (“the place at the end of has, through the dedicated work of considerable gaps in the collection’s representation of While Morrisseau the rapids”), known by its colonial name – Indigenous community members, Anishinaabe art practices. Most notably the collection, came to popularize NPeterborough – is the traditional home of the become a renowned centre for and by extension this exhibition, does not include work the Woodlands Anishinaabe people.1 The Anishinaabe as a collective Indigenous intellectual thought by Anishinaabe women. This is a glaring omission given style, the Kakegamic people are composed of the Algonquin, Mississauga, and cultural production across the the importance of Daphne Odjig, Rebecca Belmore, brothers (Goyce, Nipissing, Ojibwe (Chippewa), Odawa (Ottawa), country. Bonnie Devine, and Maria Hupfield, among others, to not Josh, and Roy), and Potawatomi and Saulteaux nations. Sites such as only the development of Anishinaabe art practices, but their founding of the This extends beyond the Petroglyphs Provincial Park and Serpent Mounds contemporary art in Canada more broadly. Their work Triple K Co-operative Kakegamic Roy classroom setting. In the 50 Park are evidence of the continuous occupation of has been invaluable to their respective communities, as Inc. allowed for Anishinaabe artists to produce high years since Trent University’s the land by Indigenous peoples, and hold cultural well as the raising of a consciousness around the work of quality prints of their work, allowing them greater founding, the institution has significance to contemporary Anishinaabe peoples Anisihinaabe artists. With that said, the exhibition features access to the Canadian commercial art world, as quietly accumulated an impressive and their communities. The Anishinaabe communities work by Anishinaabe artists who have, in their own ways, well as greater control in the dissemination of their collection of contemporary and of Hiawatha, Curve Lake, Alderville, and Scugog played a major role in the advancement of not just own artwork. The work of Morrisseau, along with historical artworks from both Island surround the city, while countless numbers of Anishinaabe art, but Indigenous art practices within the the Kakegamic brothers and others, would pave the Canadian and international artists Norval Morrisseau Indigenous peoples call Peterborough their home. broader community of Canadian contemporary art. way for a new generation of Anishinaabe artists who of various cultural backgrounds. Nogojiwanong/Peterborough is a region rich in the emerged in the mid-1980s. Perhaps the most impressive sub-collection within the The artwork in On the Shores of Odoonabii-ziibi is part traditions of Anishinaabe culture, but the influence and Trent University Art Collection is of work produced by of two distinct sub-groups. The first, and perhaps most The second group of works consists of six works by importance of this culture often goes unrecognized Indigenous artists who live and work in the territory now well known aesthetic of contemporary Anishinaabe a single artist. Born May 24, 1943 at M’Chigeeng First by contemporary settler communities. It is in this spirit known as Canada. This sub-collection reflects the diverse artistic practices is the Woodlands School. The style and Nation (formerly West Bay, Manitoulin Island), Carl of recognition and shared history that On the Shores aesthetic sensibilities of various Indigenous cultural groups its origins are connected to a movement by Anishinaabe Beam is easily one of the most prolific Anishinaabe of Odoonabii-ziibi: Anishinaabe Art from the Trent and individuals from across the country. In an effort to artists who sought to represent traditional oral histories and artists to emerge in the last 30 years. Known for his University Art Collection was approached. reflect the aesthetic practices of Anishinaabe artists who contemporary stories of their culture and people. The style large-scale mixed media constructions and wide • • • have lived and worked within the region, On the Shores of emerged in the late 1950s and was seen in the practices array of prints, Beam’s stylistic shift away from the Odoonabii-ziibi reflects the contemporary sensibilities of a of artists working in both northern and southern Ontario, Woodlands School was representational of an entire Trent University makes its home in Nogojiwanong/ small sampling of Anishinaabe artists who produced work but was most often associated with individuals living generation of Anishinaabe artists who were formally Peterborough, straddling the shores of the Odoonabii- between the late 1950s and early 2000s. and working in the various communities of Ekaentouton trained, and who embraced both cultural traditions ziibi, or the river European settlers named the (present-day Manitoulin Island). and the aesthetic trends of Western contemporary Otonabee. The origin of the river’s name is derived This exhibition is not meant to be a comprehensive survey art. Beam was also part of a generation of Indigenous from the Nishnaabeg word Odenabe, which translates of Anishinaabe art,3 but rather a small sample of Anishinaabe Norval Morrisseau is often championed as the originator artists who pushed for greater representation in to “the river that beats like a heart.”2 The university artwork held in the Trent University Art Collection. There of the Woodlands aesthetic. Born March 14, 1931 at Bingwi mainstream galleries and museums across the country. are, like almost all permanent collections of artwork, Neyaashi Anishinaabek (formerly the Sand Point Ojibwe In 1986, through considerable lobbying from Beam and Reserve), Morrisseau’s work has become synonymous with the advocacy organization, the Society for Canadian the 1960s resurgence of contemporary Anishinaabe art in 1. In addition to Anishinaabe peoples, the Peterborough region has at various points through history, been occupied by Mohawk Artists of Native Ancestry (SCANA), Beam was the peoples. Canada. A prolific artist, Morrisseau’s work is prominently first Indigenous artist to have their work purchased 2. Leanne Simpson, Dancing on our Turtle’s Back: Stories of Nishnaabeg Re-Creation, Resurgence and a New Emergence, featured throughout the exhibition, with notable highlights by the National Gallery of Canada as part of the (Winnipeg: Arbeiter Ring Publishing, 2001), 95. from the artist’s early embracement of the “X-ray” style that 3. For a recent example of such an exhibition, see Before and After the Horizon: Anishinaabe Artists of the Great Lakes. institution’s collection of contemporary art. Beam would become synonymous with the Woodlands School. The exhibition was co-organized by the Art Gallery of Ontario and the National Museum of the American Indian, and co-curated Continued on the reverse. by David Penny and Gerald McMaster. was also part of two landmark exhibitions in 1992 upbringing and exposure to contemporary Anishinaabe, as While the work in the exhibition has been informed by a – Land Spirit Power: First Nations at the National well as Western cultural customs, politics, and current events. distinct Anishinaabe culture and worldview, it is meant to Gallery of Canada (National Gallery of Canada), As Carl Beam states, “I consider my work as valid as someone provoke a critical consideration of the individual positions ON THE SHORES and Indigena: Contemporary Native Perspectives decorating a war shield before going into battle, if I weren’t we all occupy in contemporary society, regardless of our (Canadian Museum of Civilization, now Canadian living in this day and age, then I might be doing just that.”4 racial or cultural background. OF ODOONABII-ZIIBI Museum of History), that not only challenged the Beam’s body of work confronts the legacy of European Anishinaabe Art from the – Jon Lockyer ’04, Director, Artspace disproportionate underrepresentation of Indigenous colonization and its lasting effects on Anishinaabe culture. Trent University Art Collection artists in mainstream galleries, but also the legacy of At the same time, Beam refuses to allow his artwork to be Jon Lockyer is a curator, educator, and writer from Toronto, colonization in the Americas. relegated as “authentically Indian,” asserting that he creates Ontario. Lockyer’s interest as a curator focuses on issues of social work for thinking individuals.5 Beam’s work is, in many ways, and political engagement, and that challenges the aesthetic and In curating this exhibition, I do not offer a definition a perfect encapsulation of On the Shores of Odoonabii-ziibi’s pedagogical boundaries of contemporary art. He received his BA of what Anishinaabe art is. Rather, I have attempted from Trent University in Canadian Studies (2008), and completed an aim as an exhibition. to present work created by artists who share a MFA at OCAD University in Criticism and Curatorial Practice (2014). distinct cultural background that has, in some way, influenced their artistic production. Their work amounts to a personal worldview or statement in 4. Elizabeth McLuhan, “Fragments: Portrait of an Artist in Time,” The Native Perspective, (3:2, 1978). time made as an individual, but informed by their 5. John K. Grande, Balance: Art and Nature, (Montreal: Black Rose Books, 1994) 179. On the Shores of Odoonabii-ziibi: Anishinaabe Art from the Trent University Art Collection List of works 7. Norval Morrisseau, Bear Power, Enweying,
Load more

Recommended publications
  • Aird Gallery Robert Houle
    ROBERT HOULE LOOKING FOR THE SHAMAN CONTENTS INTRODUCTION by Carla Garnet ARTIST STATEMENT by Robert Houle ROBERT HOULE SELECTED WORKS A MOVEMENT TOWARDS SHAMAN by Elwood Jimmy INSTALL IMAGES PARTICIPANT BIOS LIST OF WORKS ABOUT THE JOHN B. AIRD GALLERY ROBERT HOULE CURRICULUM VITAE (LONG) PAMPHLET DESIGN BY ERIN STORUS INTRODUCTION BY CARLA GARNET The John B. Aird Gallery will present a reflects the artist's search for the shaman solo survey show of Robert Houle's within. The works included are united by artwork, titled Looking for the Shaman, their eXploration of the power of from June 12 to July 6, 2018. dreaming, a process by which the dreamer becomes familiar with their own Now in his seventh decade, Robert Houle symbolic unconscious terrain. Through is a seminal Canadian artist whose work these works, Houle explores the role that engages deeply with contemporary the shaman plays as healer and discourse, using strategies of interpreter of the spirit world. deconstruction and involving with the politics of recognition and disappearance The narrative of the Looking for the as a form of reframing. As a member of Shaman installation hinges not only upon Saulteaux First Nation, Houle has been an a lifetime of traversing a physical important champion for retaining and geography of streams, rivers, and lakes defining First Nations identity in Canada, that circumnavigate Canada’s northern with work exploring the role his language, coniferous and birch forests, marked by culture, and history play in defining his long, harsh winters and short, mosquito- response to cultural and institutional infested summers, but also upon histories.
    [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]
  • 2018 /2019 Community Report
    2018/2019 Community Report NOVEMBER 1, 2018 TO DECEMBER 31, 2019 GUIDING PRINCIPLES Vision Enriching our community by inspiring participation in the visual arts. Mission Providing opportunities for people to express, experience, and learn creatively through art. Mandate Serving our region through our developing collections, exhibitions, education, and public programs, we are a leading resource for creativity. Core Values Serving the Public Good Leading Through Excellence Ethical & Transparent Inspiring & Innovative Inclusive & Inviting Responsible Social Engagement ACKNOWLEDGMENTS The Woodstock Art Gallery is situated on the traditional territories of the Indigenous Peoples and covered by the Upper Canada Treaties. We acknowledge the history of the traditional territory on which the Woodstock Art Gallery stands. We also respect the longstanding relationships of the local Indigenous groups of this land and place in Southwestern Ontario. 01 1 MESSAGE FROM THE ADVISORY BOARD The fall of 2018 and 2019 marked two as Past Chair at the end of 2019. On behalf significant contributions towards the long-term of the Woodstock Art Gallery, I would like to sustainability of the Woodstock Art Gallery acknowledge and thank Carol for her dedicated (WAG). The first was the naming of the Toyota service, her passion and commitment towards Motor Manufacturing Canada (TMMC) Art the promotion of the importance of the visual Education Studio. One of the most active and arts in daily life. The Gallery has welcomed exciting places in the Gallery, the TMMC Art three new members to the Board. Martha Education Studio is a unique place of learning Gingerich, Jay Heaman and prominent artist and creative experimentation serving children, and recent Order of Canada recipient Maxine teens, adults and seniors.
    [Show full text]
  • Portraits of Aboriginal People by Europeans and by Native Americans
    OTHERS AND OURSELVES: PORTRAITS OF ABORIGINAL PEOPLE BY EUROPEANS AND BY NATIVE AMERICANS Eliana Stratica Mihail and Zofia Krivdova This exhibition explores portraits of Aboriginal peoples in Canada, from the 18th to the 21st centuries. It is divided thematically into four sections: Early Portraits by European Settlers, Commercially-produced Postcards, Photographic Portraits of Aboriginal Artists, and Portraits of and by Aboriginal people. The first section deals with portraits of Aboriginal people from the 18th to the 19th century made by Europeans. They demonstrate an interest in the “other,” but also, with a few exceptions, a lack of knowledge—or disinterest in depicting their distinct physical features or real life experiences. The second section of the exhibition explores commercially produced portraits of First Nations peoples of British Columbia, which were sold as postcards. These postcards date from the 1920s, which represents a period of commercialization of Native culture, when European-Canadians were coming to British Columbia to visit Aboriginal villages and see totem poles. The third section presents photographic portraits of Aboriginal artists from the 20th century, showing their recognition and artistic realizations in Canada. This section is divided into two parts, according to the groups of Aboriginal peoples the artists belong to, Inuit and First Nations. The fourth section of the exhibition explores portraits of and by Aboriginals. The first section sharply contrasts with the last, showing the huge gap in mentality and vision between European settlers, who were just discovering this exotic and savage “other,” and Native artists, whose artistic expression is more spiritual and figurative. This exhibition also explores chronologically the change in the status of Aboriginal peoples, from the “primitive other” to 1 well-defined individuals, recognized for their achievements and contributions to Canadian society.
    [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]
  • Norval Morrisseau Work, but Becomes an Imitation When Heritage Society to Compile a It Is Attributed to a Genuine Artist.4 Catalogue Raisonnée
    RENDER | THE CARLETON GRADUATE JOURNAL OF ART AND CULTURE FALSIFYING SPIRITUAL TRUTHS: A CASE STUDY IN FAKES AND FORGERIES Kristyn Rolanty, MA Art History Once it has been revealed that painting changes economically, a work of art is faked or forged, our aesthetically, and spiritually. whole set of attitudes and resulting Forgery can be defined in responses change. Forgery implies contrast to notions of originality and the absence of value; but what kind authenticity. In Crimes of the of value are we speaking of? For this Artworld, Thomas D. Bazley defines essay I intend to examine the forgery as the replication of an problematic nature of forgeries, existing artwork or copying of an focusing specifically on the faked and artistic style in an attempt to be forged works of Ojibway artist Norval passed off as an original to acquire Morrisseau. Analyzing a high profile financial gain.1 It is not illegal to copy allegation of forgery, I will explore or imitate an artist’s work, but it themes of authenticity, authorship, becomes so when it is produced with and intent, while attempting to the intent to deceive.2 It is worthy to answer the question: how do note the distinction between a fake allegations of forgery change our and a forgery. A forgery is an exact understanding of a work of art and replica of an existing work, while a why does this matter? I will examine fake is a work in the style of another how our understanding of the artist.3 Both are illegal when represented as authentic.
    [Show full text]
  • THE COLLECTION Permanent Collections Are Complex, Amazing, and Very Weighted Things
    THE COLLECTION Permanent collections are complex, amazing, and very weighted things. The ways they are formed, presented, and interpreted all speak of choices—choices made one hundred years ago and yesterday. These choices express who we are, and crucially, who we want to be. The Art Gallery of Hamilton is proud of its collection, while at the same time recognizing that there is still work to be done in accounting for the biases, omissions, and—yes—idiosyncrasies of our holdings. Although we aim to have old favourites out on the floor as much as possible, we also have a responsibility to bring lesser-known work to public consideration. Given the challenges of properly balancing these concerns, and knowing that for practical reasons only a small percentage of the collection can be out of the vaults at any given time, what kind of choices inform how we present the collection? This selection is founded on an internal conversation among staff members aimed at demonstrating and testing the dexterity of our holdings. This conversation repeatedly returned to a set of central questions: How does the collection articulate an identity for the Hamilton region as well as for Canada? How can it reflect the shifting perspective of a single artist over time, as well as illustrate the shifting perspectives of many artists tackling a common subject, be it abstraction, landscape, or representation? Who do we see represented? And perhaps most importantly, who is not here? These questions, while directed, are fluid and organic; they change and shift over time and should reflect the times we live in and the things we are talking about as a society.
    [Show full text]
  • Resources Pertaining to First Nations, Inuit, and Metis. Fifth Edition. INSTITUTION Manitoba Dept
    DOCUMENT RESUME ED 400 143 RC 020 735 AUTHOR Bagworth, Ruth, Comp. TITLE Native Peoples: Resources Pertaining to First Nations, Inuit, and Metis. Fifth Edition. INSTITUTION Manitoba Dept. of Education and Training, Winnipeg. REPORT NO ISBN-0-7711-1305-6 PUB DATE 95 NOTE 261p.; Supersedes fourth edition, ED 350 116. PUB TYPE Reference Materials Bibliographies (131) EDRS PRICE MFO1 /PC11 Plus Postage. DESCRIPTORS American Indian Culture; American Indian Education; American Indian History; American Indian Languages; American Indian Literature; American Indian Studies; Annotated Bibliographies; Audiovisual Aids; *Canada Natives; Elementary Secondary Education; *Eskimos; Foreign Countries; Instructional Material Evaluation; *Instructional Materials; *Library Collections; *Metis (People); *Resource Materials; Tribes IDENTIFIERS *Canada; Native Americans ABSTRACT This bibliography lists materials on Native peoples available through the library at the Manitoba Department of Education and Training (Canada). All materials are loanable except the periodicals collection, which is available for in-house use only. Materials are categorized under the headings of First Nations, Inuit, and Metis and include both print and audiovisual resources. Print materials include books, research studies, essays, theses, bibliographies, and journals; audiovisual materials include kits, pictures, jackdaws, phonodiscs, phonotapes, compact discs, videorecordings, and films. The approximately 2,000 listings include author, title, publisher, a brief description, library
    [Show full text]
  • Indian Art in the 1990S Ryan Rice
    Document generated on 09/25/2021 9:32 p.m. RACAR : Revue d'art canadienne Canadian Art Review Presence and Absence Redux: Indian Art in the 1990s Ryan Rice Continuities Between Eras: Indigenous Art Histories Article abstract Continuité entre les époques : histoires des arts autochtones Les années 1990 sont une décennie cruciale pour l’avancement et le Volume 42, Number 2, 2017 positionnement de l’art et de l’autonomie autochtones dans les récits dominants des états ayant subi la colonisation. Cet article reprend l’exposé des URI: https://id.erudit.org/iderudit/1042945ar faits de cette période avec des détails fort nécessaires. Pensé comme une DOI: https://doi.org/10.7202/1042945ar historiographie, il propose d’explorer chronologiquement comment les conservateurs et les artistes autochtones, et leurs alliés, ont répondu et réagi à des moments clés des mesures coloniales et les interventions qu’elles ont See table of contents suscitées du point de vue politique, artistique, muséologique et du commissariat d’expositions. À la lumière du 150e anniversaire de la Confédération canadienne, et quinze ans après la présentation de la Publisher(s) communication originale au colloque, Mondialisation et postcolonialisme : Définitions de la culture visuelle , du Musée d’art contemporain de Montréal, il UAAC-AAUC (University Art Association of Canada | Association d'art des V reste urgent de faire une analyse critique des préoccupations contemporaines universités du Canada) plus vastes, relatives à la mise en contexte et à la réconciliation de l’histoire de l’art autochtone sous-représentée. ISSN 0315-9906 (print) 1918-4778 (digital) Explore this journal Cite this article Rice, R.
    [Show full text]
  • New Worlds: Frontiers, Inclusion, Utopias
    Table of contensNew Worlds: Frontiers, Inclusion, Utopias New Worlds: Frontiers, Claudia Mattos Avolese Inclusion, Roberto Conduru Utopias — EDITORS 1 Table of contens Introduction The Global Dimension of Claudia Mattos Avolese, Art History (after 1900): Roberto Conduru Conflicts and Demarcations [5] Joseph Imorde Universität Siegen [71] Between Rocks and Hard Places: Indigenous Lands, Settler Art Histories and the Perspectives on ‘Battle for the Woodlands’ Institutional Critique Ruth B. Phillips Lea Lublin and Julio Le Parc Carleton University between South America and [9] Europe Isabel Plante Universidad Nacional Transdisciplinary, de San Martín Transcultural, and [85] Transhistorical Challenges of World Art Historiography Peter Krieger Historiography of Indian Universidad Nacional Art in Brazil and the Autónoma de México Native Voice as Missing [36] Perspective Daniela Kern Universidade Federal do Out of Place: Migration, Rio Grande do Sul Melancholia and Nostalgia [101] in Ousmane Sembène’s Black Girl Steven Nelson The Power of the Local Site: University of California, A Comparative Approach to Los Angeles Colonial Black Christs and [56] Medieval Black Madonnas Raphaèle Preisinger University of Bern [116] New Worlds: Frontiers, Inclusion, Utopias — 2 Table of contens Between Roman Models Historiographies of the and African Realities: Contemporary: Modes of Waterworks and Translating in and from Negotiation of Spaces in Conceptual Art Colonial Rio de Janeiro Michael Asbury Jorun Poettering Chelsea College of Arts, École des Hautes Études University of the Arts en Sciences Sociales London [133] [188] Tropical Opulence: Landscape Painting in the Rio de Janeiro’s Theater Americas: An Inquiry Competition of 1857 Peter John Brownlee Michael Gnehm Terra Foundation for Accademia di architettura, American Art Mendrisio / Swiss — Federal Institute of Valéria Piccoli Technology Zurich Pinacoteca do Estado [146] de São Paulo — Georgiana Uhlyarik New Classicism Art Gallery of Ontario Between New York and [202] Bogotá in the 1960s Ana M.
    [Show full text]
  • (Re)Mapping, Grounding, Remembering: a Curatorial Study of Way-Finding and Relationships to Place in Contemporary Indigenous Art Practice
    (re)mapping, grounding, remembering: A Curatorial Study of Way-finding and Relationships to Place in Contemporary Indigenous Art Practice by Courtney Miller A thesis exhibition presented to OCAD University in partial fulfillment of the requirements for the degree of Master of Fine Arts in Criticism and Curatorial Practice Graduate Gallery, OCAD University, March 7-14, 2020 Toronto, Ontario, Canada, March 2020 © Courtney Miller, 2020 ii (re)mapping, grounding, remembering A thesis exhibition by Courtney Miller Master of Fine Arts Criticism and Curatorial Practice 2020 OCAD University Abstract (re)mapping, grounding, remembering explores how the concept of (re)mapping is communicated in Indigenous contemporary artwork to demonstrate place-making methods and maintain Indigenous presence on land/landscape. (Re)mapping indicates Indigenous perceptions of and connections to ancestral land/landscape through themes of responsibility, reciprocity, place-based language, and intergenerational knowledges. This thesis project involves an exhibition featuring the artworks of Anishinaabe artist Bonnie Devine, Blackfoot/Cree artist Richelle Bear Hat, and Métis artist Katherine Boyer. Through literal, symbolic, and discursive gestures of mapping, the artists contribute to a conversation of re-writing histories, shared memories, complex and enduring relationships pertaining to homeland. iii Acknowledgements I would like to thank my thesis advisor Gerald McMaster and my secondary advisor Selmin Kara for their guidance, my readers Anna Hudson and Johanna Householder, and my previous advisor Suzanne Morrissette. I also would like to thank my husband Zak, my friends, and family for their continuous support. I express my continual appreciation to the artists in my thesis exhibition: Bonnie Devine, Richelle Bear Hat, and Katherine Boyer.
    [Show full text]
  • Pilimmaksarniq | Pijariuqsarniq Report 2
    INUIT FUTURES IN ARTS LEADERSHIP: THE PILIMMAKSARNIQ | PIJARIUQSARNIQ PROJECT INAUGURAL EVENT: OCTOBER 16 – 20, 2018 At OCAD University, Toronto, Ontario SSHRC Partnership Development Grant Hosted by Toronto partners; Indigenous Visual Culture at OCAD and Inuit Art Foundation Prepared by Adrienne Huard (Local Project Coordinator) This research was supported by the Social Sciences and Humanities Research Council of Canada. Page !1 of !14 INUIT FUTURES IN ARTS LEADERSHIP: THE PILIMMAKSARNIQ | PIJARIUQSARNIQ PROJECT INUIT LEADERSHIP GROUP •Reneltta Arluk (Akpik Theatre) •Alethea Arnaquq-Baril (Unikkaat Studios) •Dr. Heather Igloliorte (Concordia University) •Jessica Kotierk (Nunavut Film Development Corporation) •Taqralik Partridge (Independent Artist) •Jesse Tungilik (Government of Nunavut) PARTNERS •Stephen Borys (Winnipeg Art Gallery) •Sandra Dyck (Carleton University) •Britt Gallpen (Inuit Art Foundation) •Karine Gaucher (La Guilde) •Anna Hudson (York University) •Serena Keshavjee (University of Winnipeg) •Lindsay Lachance (National Arts Centre) •Jason Lewis (Concordia University) •Julie Nagam (University of Winnipeg) •Alysa Procida (Inuit Art Foundation) •Ryan Rice (OCAD University) •Carla Taunton (Nova Scotia College of Art and Design) •Katherine Wolforth (The Rooms Corporation) SECONDARY PARTNERS • RESEARCH ASSISTANTS •Adrienne Huard (OCAD University, MFA student) •Kathryn Florence Math (Concordia University, MA student) •Amanda Shore (Concordia University, MA student) •Emma Steen (Inuit Art Foundation, MA student at OCAD University) Page !2 of !14 INUIT FUTURES IN ARTS LEADERSHIP: THE PILIMMAKSARNIQ | PIJARIUQSARNIQ PROJECT PARTNERSHIP DEVELOPMENT ACTIVITIES: Preliminary Meeting - Inuit Leadership Group, OCAD University, 12-4pm (Toronto, October 16, 2018) Members from the Inuit Leadership Group gathered to set goals and objectives for the midway point of the grant (Year 4 - 2021-2122). They also discussed certain challenges that may arise and how to monitor and measure the success of the project.
    [Show full text]