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.
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