Dana Claxton: Fringing the Cube October 27, 2018 to February 3, 2019

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The Vancouver Art Gallery Presents Dana Claxton: Fringing the Cube October 27, 2018 to February 3, 2019 DANACLAXTON01 Dana Claxton, Cultural Belongings, 2016, LED firebox with transmounted chromogenic transparency, Collection of Rosalind and Amir Adnani BY DOWNLOADING IMAGES YOU AGREE TO THESE TERMS AND CONDITIONS: - Images may not be cropped, overprinted or altered in any way. All images must be accompanied by the supplied credit line. - The images supplied are for use solely in reviews of Vancouver Art Gallery exhibitions. All image use must comply with the Canadian Copyright Act. - Images are not to be distributed and user agrees to delete once the article is completed. - The Vancouver Art Gallery will not be held liable for any unauthorized use of these images. For high-resolution images, please contact Hanah Van Borek: [email protected] 1/4 DANACLAXTON02 DANACLAXTON03 Dana Claxton, Headdress–Jeneen, 2018, Dana Claxton, Buffalo Woman 1, 2016, LED firebox with transmounted chromogenic transparency, ink on silk (windbox), skull by Kevin McKenzie, Collection of Cathy Zuo Courtesy of the Artist DANACLAXTON04 DANACLAXTON05 Dana Claxton, Momma Has a Pony Girl...(Named Dana Claxton, Family Portrait (Indians on a Blanket) History and Sets her Free) (from The Mustang (from The Mustang Suite), 2008, chromogenic print, Suite), 2008, chromogenic print, National Gallery of Canada, Ottawa, Purchased 2009 National Gallery of Canada, Ottawa, Purchased 2009 2/4 DANACLAXTON06 DANACLAXTON07 Dana Claxton Dana Claxton Dana Claxton, Paint Up #1, 2009, Tatanka (Buffalo) (from Indian Candy), 2013, chromogenic print, Audain Collection, chromogenic print mounted on aluminum, Promised Gift to Audain Art Museum On Loan from Mary Wesik DANACLAXTON08 Dana Claxton, Buffalo Bone China, 1997, mixed media installation with single-channel video, broken china, stanchions and rope, Collection of the MacKenzie Art Gallery, Purchased with financial support of the Canada Council for the Arts Acquisition Assistance Program, Photo: Don Hall, Courtesy of the MacKenzie Art Gallery 3/4 DANACLAXTON09 Dana Claxton, Sitting Bull and the Moose Jaw Sioux, 2004, 4-channel video installation with audio, Collection of the Moose Jaw Museum & Art Gallery 4/4.

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New Temporalities and Productive Tensions in Dana Claxton's Made to Be Ready a Review Essay
Survivance, Signs, and Media Art Histories: New Temporalities and Productive Tensions in Dana Claxton’s Made to Be Ready A Review Essay Julia Polyck-O’Neill Since our work documents records, and interprets decolonization, and is an expression of our cultures, our social relationships to the state and church, and our communities, what is the exchange with the viewer? One of pedagogy, understanding, truth, hope? Perhaps all and more. – Dana Claxton, “Re:Wind”1 arge-scale lightbox photographs and projections,2 reminiscent of Vancouver’s photo-conceptualistic narratives, dominate the darkened Simon Fraser University’s Audain Gallery. The eye Lmoves from static images to moving projections. The content of the images is visibly interconnected: the figure depicted in each appears to be the same woman; the punchy clarity, vivid palette, and the glossy, high definition and resolution as well as the contemporary aesthetic of the photographic images are also measurably consistent throughout. But although the works share an author, the theme, or intention, underlying them is challenging to discern. Although there are, ostensibly, referents available for issues of identity and remediation, they transcend the once traditional frameworks of conventional art historical categorization. The artist, Dana Claxton, is an artist-critic born in Yorkton, Saskatchewan, is of Hunkpapa Lakota descent, and is an associate professor in the University of British Columbia’s Art History, Visual Art, and Theory 1 Dana Claxton, “Re:Wind,” in Transference, Technology, Tradition: Native New Media, ed. Candice Hopkins, Melanie Townsend, Dana Claxton, Stephen Loft (Banff: Walter Phillips Gallery Editions, 2005), 16. 2 Claxton’s works are actually shown on LED fireboxes, a contemporary take on Jeff Wall and Ian Baxter’s fluorescent lightboxes of the late twentieth century.
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