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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. continent, promoting public education, advocacy, research and conservation in archaeology. 1 of 15 Prince Albert Historical Society: A reminder that the Museum is open every Thursday from 1:00 - 4:00 pm as of January 3rd, 2019. Saskatoon Archaeological Society: Join the Saskatoon Chapter on January 25th, 2019 at 7:00 pm in Archaeology Building Room 132 (55 Campus Drive) for the first lecture of 2019! Speaker and topic to be Friend us on Facebook announced. All are welcome. Follow us on Twitter Visit our webpage Forward to a Friend 2 of 15 Saskatoon: Power Lines: The work of Norval Morrisseau (until January 25th, 2019) - Wanuskewin Heritage Park Norval Morrisseau (1931–2007) is arguably the most influential Indigenous artist in Canada, a member of the Indian Group of Seven and the grandfather of the Woodland Art School, he influenced 3 of 15 generations of Indigenous artists. In 2006 the National Gallery of Canada held a survey exhibition of Norval Morrisseau’s work, it was the first retrospect held for a contemporary Indigenous artist. Power Lines: The Work of Norval Morrisseau features his work from varying stages of his career, centred on the iconography of Anishinaabe story-telling, of family and how we all connect to lines of power. Regina: New Year's Day Levee (January 1st, 2019, 1:00 - 4:00 pm) - Government House (4607 Dewdney Avenue) The Lieutenant Governor's New Year's Day Levee will take place on January 1st from 1:00 to 4:00 pm at Government House in Regina. The Levee provides an opportunity to exchange New Year's greetings with the Lieutenant Governor, enjoy refreshments and entertainment. This public event is free admission. Although some guests choose to dress up and others come in uniform, there is no set dress code. Free parking will be provided at Luther College High School (Dewdney Avenue and Empress Street). A free shuttle service will run frequently between the Luther parking lot and Government House. Saskatoon: Learning Saulteaux (January 3rd to March 28th, 2019) - Dr. Freda Ahenakew Branch (100 219 Avenue K South) Come and learn this traditional Indigenous language with help from a qualified instructor. No previous knowledge necessary. Thursdays from 6:00 to 8:30 pm. Presented in partnership with Saskatoon Indian and Métis Friendship Centre. Regina: Behind Enemy Lines: The True Story of a French Jewish Spy in Nazi Germany (January 8th, 2019, 7:00 - 10:00 pm) - Conexus Arts Centre (200 Lakeshore Drive) Marthe Cohn, was born in Metz, France in 1920. At its heart, this remarkable story is the tale of an ordinary human being who, under extraordinary circumstances, became the hero her country needed her to be. In 2002 Marthe penned her memoir, "Behind Enemy Lines: The True Story of a French Jewish Spy in Nazi Germany." For more information and to purchase tickets, visit the Conexus Arts Centre website. Saskatoon: Farm Toy and Collectible Show (January 11th to 13th, 2019) - German Cultural Centre (160 Cartwright Street East) Annual Farm Toy and Collection Show is Saskatoon features farm toys and scenes, construction equipment, vintage toys, Die-Cast models, collectibles, replacement parts and more. Friday 5 - 9 p.m., Saturday 10 a.m. - 5 p.m. and Sunday 10 a.m. - 4 p.m. Admission: $5 adults, $2 youth (6 - 12 years), children 5 years and under free. Regina: Stories of Prairie People (January 16th, 2019, 6:00 - 7:00 pm) - Central Library (2311 12th Avenue) Join us in the Prairie History Room where author Deana Driver will be doing a live reading of her book: Cream Money: Stories of Prairie People. Regina: Ancestry Library Edition for Beginners (January 15th, 2019, 7:00 - 8:30 pm) - Connaught Library (3435 13th Avenue) Discover your family story. Learn to use the Ancestry Library Edition database, a powerful search tool that's free to RPL customers, to get started on your genealogy project. 4 of 15 Saskatoon: A Box Full of Lives: Saskatoon, 1918-1964 (January 17th, 2019, 2:00 - 3:00 pm) - Mayfair Library (602 33rd Street West) Archivist Jeff O'Brien looks at how Saskatoon survived boom and bust, drought and depression, war and rebuilding, and the social upheavals that inevitably accompanied them. Saskatoon: Forget Winnetou! Loving in the Wrong Way (January 18th, 2019, 8:00 pm) - Paved Arts (424 20th Street West) A Film by D.S. Red Haircrow. “Most films about Indigenous people concentrate on European narratives or Indigenous experience in North America but there are Natives abroad and being “loved in the wrong way” in “Indian crazy” Germany has many forms. Germany is a microcosm of struggles taking place across the world against and and for decolonization; for correcting white privilege and supremacy that’s divided and helped destroy our world. We explore the roots of racism, colonialism, and appropriation in Germany from a rarely considered perspective: the Native American stereotype they infamously adore. Catered Event with vegetarian and non vegetarian options *Please note that for students and the elderly (ages 65+) special rates are available to assist with any financial barriers that may exist. Please contact [email protected] for more information. Saskatoon: Power Lines: A Symposium on the Impact of the Woodland School of Art and the Work of Norval Morrisseau (January 19th-20th, 2019) - Wanuskewin Heritage Park This event is to thoughtfully investigate the impact of the Woodland School and the work of Norval Morrisseau. Leading artists, academics and art historians are coming together for one weekend to discuss, critique, relay their expertise, stories and knowledge(s) about the importance of Morrisseau and his impact on Indigenous artists historically and presently. Please join us for a weekend at beautiful Wanuskewin, a traditional gathering place. Event is catered and seats are limited. Keynote will be presented by Dr.Carmen Robertson, Robertson is one of country’s leading experts on the work of Norval Morrisseau. “If I was you, I would appropriate you too” Ruth Cuthand, Carmen Robertson, David Garneau. Artists and art historians will respond to the issue of appropriation and how and if it impacts Indigenous artists. Some discussion will also be on the utilization of Indigenous artistic genres by non- Indigenous artists and the art market. "Norval Morrisseau and the influence of the Indian Group of Seven" Faye HeavyShield, Nadia Kurd, Bonnie Devine & Michelle LaVallee. The Indian Group of Seven a play on the Canadian Group of Seven was an important advocacy group of Indigenous artists that began in 1973 with Daphne Odjig, Alex Janvier, Jackson Beardy, Eddy Cobiness, Norval Morrisseau, Carl Ray and Joseph Sanchez. This panel will address the influence of this group and Morrisseau’s role within it. "The intersection between Indigenous worldview/ceremony and art: The development of the Woodland Style" Barry Ace, Maria Campbell, Peter Morin. Prior to contact, Indigenous people did not differentiate the concept of art from ceremony. After contact and the development of the term Indigenous contemporary art, how has the concept of art/ceremony changed if at all? "Woodland today…" Christian Chapman, Donna Langhorne, Quill Christie Peters. The Woodland School of art formulated by Morrisseau has become widely accepted by dominant western Canada as ‘Indian art.’ How have artists resisted western notions of Indigenous art and integrated their own ideas and worldviews to disrupt and decenter those narratives? "Art Intersections" Madison Noon (Plains Cree,Swampy Cree) performing choreography in response to the work of Norval Morrisseau Indigenous Poets Society reciting response to the work of Power Lines-the work of Norval Morrisseau T-Shirt Screen Printing workshop in partnership with VOID Gallery, participants to the symposium will have the opportunity to learn how to screen a design onto a t-shirt and take home their work of art! Power Lines Audio Station- located at 5 of 15 Paved Arts in Saskatoon is an audio station featuring excerpts of interviews with Norval Morrisseau. Saskatoon: Mitten Making (January 19th & 26th, 2019) - Wanuskewin Heritage Park Learn to make a hide mitt with fur and beading.
Recommended publications
  • 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.
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  • 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.
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  • 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.
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  • 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.
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  • Windspeaker February 1996
    --.11., QUOTABLE QUOTE "National Chief Mercredi's actions and statements are an insult to the chiefs." - Manitoba Grand Chief Phil Fontaine '2 00 where applicable PUBLICATION MAIL REGISTRATION k2177 13 No. IO FEBRUARY 1996 Canada's National Aboriginal News Publication Volume POSTAGE PAID AT EDMONTON Thumbs up for treaties VANCOUVER Negotiation is the only acceptable and civilized way for Native people and the government to deal with the complex issues of Abo- riginal title and rights in the province of British Columbia, said Chief Joe Mathias. He was responding to a new study, conducted by ARA Con- sulting Group of Vancouver, which found land claim treaties have a positive effect in regards to economic opportunity, community development and improved relations between Aboriginal and non- Aboriginal people. "The strength of this report is that it provides an independent and balanced perspective of the issues, challenges and opportuni- ties of treaty- making," said Mathias. "It is a critically important and timely document, one we expect will generate constructive public debate in the months ahead." The study found that modern day treaties have not caused the kind of disruption and disharmony their critics contend they do, but neither do they offer instant solutions. A summary report pre- pared by Ken Coates of the University of Northern British Colum- bia said the resolution of long- standing disagreements, through negotiation rather than through legal or politically imposed con- ditions, will liberate people from the contentious and difficult de- bates of the past. "These often heated discussions - about colonialism, disloca- tion, sovereignty, ownership, and the legitimacy of Native land claims - generate a great deal of rhetoric and anger but rarely pro- vide lasting solutions," concludes the summary.
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  • Turtle Island Education Guide
    The Alberta Foundation for the Arts Travelling Exhibition Program Interpretive Guide & Hands-on Activities Turtle Island The Alberta Foundation for the Arts Travelling Exhibition Program The Interpretive Guide The Art Gallery of Alberta is pleased to present your community with a selection from its Travelling Exhibition Program. This is one of several exhibitions distributed by The Art Gallery of Alberta as part of the Alberta Foundation for the Arts Travelling Exhibition Program. This Interpretive Guide has been specifically designed to complement the exhibition you are now hosting. The suggested topics for discussion and accompanying activities can act as a guide to increase your viewers’ enjoyment and to assist you in developing programs to complement the exhibition. Questions and activities have been included at both elementary and advanced levels for younger and older visitors. At the Elementary School Level the Alberta Art Curriculum includes four components to provide students with a variety of experiences. These are: Reflection: Responses to visual forms in nature, designed objects and artworks Depiction: Development of imagery based on notions of realism Composition: Organization of images and their qualities in the creation of visual art Expression: Use of art materials as a vehicle for expressing statements The Secondary Level focuses on three major components of visual learning. These are: Drawings: Examining the ways we record visual information and discoveries Encounters: Meeting and responding to visual imagery Composition: Analyzing the ways images are put together to create meaning The activities in the Interpretive Guide address one or more of the above components and are generally suited for adaptation to a range of grade levels.
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  • 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/.
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  • Cree Family Works Trapline
    CANADA c _ J/ ry, of rloo, -15 of Indian Affairs and Northern Development des AfJaires indiennes el du Nord Canadien Vol. Eleven, No. One Ottawa, Ontario April, 1968 CREE FAMILY J WORKS TRAPLINE A chance trip into a snow The Diamond's trapline covers a canvas covered wigwam out of "Only a fool would work in the covered lake some 11 0 miles north- about 150 square miles of wilder- the top of which a small trail of summer if he didn't have to," said west of Gogama in Northern ness and nets them between $5,000 smoke curled hospitably. Mrs. Diamond. "Summer is for Ontario last winter brought me and $6,000 per year. fun." into a world few people are privi- We all moved into the wigwam I looked around the- campsite. (Continued on page 4) leged to see, and showed me a way and sat down on the spruce bough of life in which contentment is the There was nearby, a pot bubbling merrily -a tin stove with a floor to talk. Grandma Josephine, theme. - on h . moosehead in it for the noon meal. with the rest of the family listen- I had joined a friend in the Ontario Department of Lands and Forests on a routine trip to visit a family of Cree Indians from Rupert Sanitation House who came every winter into the Gogama district to trap beaver. Committee Everything glistened like bril- liants in the morning sun as our Formed plane touched down and taxied to the campsite. About 50 feet above the lake edge, waiting for us, were A Health Committee was formed the whole family.
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  • CURRICULUM VITAE: Barry Ace | [email protected]
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  • Download Curriculum Vitae
    Dr. DAPHNE ODJIG C.M., O.B.C., R.C.A., L.L.B. Governor General’s Laureate, Visual & Media Arts 2007 Daphne Odjig is a Canadian artist of Aboriginal ancestry. She was born September 11,1919 and raised on the Wikwemikong Unceded Indian Reserve on Manitoulin Island (Lake Huron), Ontario. Daphne Odjig is the daughter of Dominic Odjig and Joyce Peachey. Her father and her grandfather, Chief Jonas Odjig, were Potawatomi, descended from the great chief Black Partridge. Her mother was an English war bride. The Odjig family was among the Potawatomi who migrated north and settled in Wikwemikong after the War of 1812. The Potawatomi (Keepers of the Fire) were members with the Ojibwa and Odawa, of the Three Fires Confederacy of the Great Lakes. Daphne passed away at age 97 in Kelowna, BC on October 1, 2016. Art Media: Oils, Acrylics, Silkscreen Prints, Murals, Pen and Ink, Pastels, Watercolours, Coloured Pencils Recent and Upcoming Exhibitions: Daphne Odjig: Four Decades of Prints Touring exhibition of limited edition prints organized by the Kamloops Art Gallery ❖ Kamloops Art Gallery, Kamloops BC, June 8 – Aug 31, 2005 ❖ Winnipeg Art Gallery, Winnipeg MN April 22 – July 16, 2006 ❖ Canadian Museum of Civilization , Ottawa January 18 – April 20, 2008 The Drawings and Paintings of Daphne Odjig: A Retrospective Exhibition Touring exhibition organized by Art Gallery of Sudbury and National Gallery of Canada ❖ Art Gallery of Sudbury, Sudbury ON September 15 – November 11, 2007 ❖ Kamloops Art Gallery, Kamloops BC June 8 – August 31, 2008 ❖ McMichael Canadian Art Collection, Kleinberg ON Oct. 4 , 2008 – Jan 4, 2009 ❖ Institute of American Indian Arts Museum, Santa Fe NM, June 26 – Sept.
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  • 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.
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  • Breaking Barriers the Artist Inside
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