Putting Canada's North Back on the Map Drama & Art Create A
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Changing Horizons
Changing Horizons SASKATCHEWAN ARTS BOARD 2015-2016 ANNUAL REPORT MISSION: VALUES: TABLE OF CONTENTS: The Saskatchewan Arts Board recognizes, • Accessibility — We are committed to Letter of Transmittal 2 encourages and supports the arts to enrich providing accessible and user-friendly Message from the Chair 3 community well-being, creativity, diversity and services for our clients. Message from the Chief Executive Officer 4 prosperity. • Diversity — We are committed to building Board & Staff 5 an organization that reflects the ever- VISION: Stories 6 increasing diversity of the people of A creative society where the arts, artistic Saskatchewan and which embraces a In Memory 35 expression and innovation play a dynamic role broad scope of creativity and artistic Strategic Plan 36 and are accessible to everyone in expression through the arts. Permanent Collection: New Acquisitions 38 Saskatchewan. • Accountability — Our policies and Permanent Collection: Works on Loan 40 processes are transparent and reflect a Grants & Funding 42 commitment to effective stewardship for Jurors, Assessors & Advisors 46 the public trust we hold. Management Responsibility for Financial Information 48 • Collaboration — We recognize greater Auditor's Report 48 outcomes will be achieved through Financial Statements 49 collaboration, partnerships and the engagement of clients, staff and Notes to the Financial Statements 51 stakeholders. • Excellence — Our commitment to focusing on our clients and going above and beyond to support excellence in the arts. • Adaptability — Our ability to think differently, innovate and continuously evolve in order to support our clients and the dynamic role of the arts within a creative society. Cover Image: Gabriela García-Luna Blue Wheat , 2011 Giclée print on paper Photo courtesy of the artist The Saskatchewan Arts Board provides opportunities to change horizons for people across Saskatchewan. -
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 -
(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. -
The Numinous Land: Examples of Sacred Geometry and Geopiety in Formalist and Landscape Paintings of the Prairies a Thesis Submit
The Numinous Land: Examples of Sacred Geometry and Geopiety in Formalist and Landscape Paintings of the Prairies A Thesis Submitted to the College of Graduate Studies and Research in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Department of Art and Art History University of Saskatchewan Saskatoon By Kim Ennis © Copyright Kim Ennis, April 2012. All rights reserved. Permission to Use In presenting this thesis in partial fulfillment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis work or, in their absence, by the Head of the Department or the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis. Requests for permission to copy or to make other uses of materials in this thesis in whole or part should be addressed to: Head of the Department of Art and Art History University of Saskatchewan 3 Campus Drive Saskatoon, Saskatchewan S7N 5A4 Canada i Abstract Landscape painting and formalist painting, both terms taken in their broadest possible sense, have been the predominant forms of painting on the prairie, particularly in Saskatchewan, for several decades. -
Curriculum 1-9 Arts 8 (SK)
Saskatchewan Curriculum Arts Education 2009 8 Arts Education 8 Arts Education 8 ISBN 978-1-926631-52-3 1. Arts education (Middle school) - Saskatchewan - Curricula. 2. Competency-based education - Saskatchewan. Saskatchewan. Ministry of Education. Curriculum and E-Learning. Humanities Unit. All rights are reserved by the original copyright owners. Section Title, 1 col — right side page Arts Education 8 Table of Contents Acknowledgements...............................................................................................v Introduction........................................................................................................... 1 Core.Curriculum..................................................................................................... 2 Broad.Areas.of.Learning....................................................................................... 2 Developing.Lifelong.Learners....................................................................... 2 Developing.a.Sense.of.Self.and.Community.............................................. 2 Developing.Engaged.Citizens....................................................................... 3 Cross-curricular.Competencies........................................................................... 3 Developing.Thinking...................................................................................... 3 Developing.Identity.and.Interdependence................................................ 4 Developing.Literacies.................................................................................... -
Saskatchewan Arts Board 2012/2013 Annual Report
Saskatchewan Arts Board 2012/2013 Annual Report experience 65 Mission: To cultivate an environment in which the arts thrive for the benefit of everyone in Saskatchewan. Vision: Saskatchewan is known internationally as a truly creative society — a society for arts and innovation — which fosters a spirit of inquiry and exploration in its citizens. Readily available to everyone, the arts play a crucial role in encouraging us to value our own cultural identities and communities with understanding and confidence. We are known well beyond our borders for the work of our artists, for the vitality of our imaginative life, and the place of art in the lives of everyone who lives here. Values: Table of Contents In realizing the vision for the arts in Saskatchewan, we Letter of Transmittal 2 are guided by the following values: Message from the Chair 3 Art and Artists: The work of artists is at the centre of all Message from the Executive Director 4 of our policies and programs. Leadership 5 Engagement and Access: We are committed to fostering Engagement 13 dynamic and continuous engagement between artists and citizens. Collaboration 21 Legislative Building Artist Residency 29 Accountability and Transparency: Our policies and processes are transparent and reflect a commitment to Growth 41 accountability for the public trust we hold. Permanent Collection: New Acquisitions 46 Partnerships and Collaboration: We work In Memory 48 collaboratively and value community-based partnerships Strategic Plan Progress Report 49 and the contributions of all participants. Grants & Funding 50 Ideas and the Arts: We recognize and support the Jurors & Assessors 57 significant role of the arts in the creation and advancement of ideas in society. -
Native American Art Lesson Plans in School Arts: a Content Analysis
Copyright 2011 by Florida State University Wheeler, E. H. & Bobick, B. (2011). Native American lesson plans in school arts: A content Analysis. Journal of Art for Life, 2(1), 19-35. Native American Art Lesson Plans in School Arts: A Content Analysis Elizabeth H. Wheeler The transformative Jefferson Elementary School Jefferson, GA approach encourages teachers to develop Bryna Bobick, Ed. D. University of Memphis lessons that address Memphis, TN cultural and Abstract historical issues from This article presents an examination of the point of view of two studies which explored and examined multicultural art education. A content the culture being analysis of Native American themed ar- studied. ticles in School Arts magazine from 1985- 2004 was conducted to understand how art educators addressed this issue in their curriculum and to identify sound criteria by which to develop art education cur- riculum. Once the criteria for best prac- tices in multicultural art education was identified, an action research design was used to investigate the impact of Native American themed art lessons on student learning and on multicultural awareness. The overarching aim of both studies was to uncover best practices for creating and teaching elementary art curriculum on Native American art and contempo- rary Native American artists. Keywords: Multicultural education, elementary art education, contemporary Native American art education Correspondence regarding this article may be sent to Ms. Wheeler via email: [email protected] or Dr. Bobick via email:[email protected] Journal of Art for Life 2(1) 19 Excellent multicultural education cannot be limited to learning one aspect of a culture . -
Next Year's Country
NEXT YEAR’S COUNTRY Curated by Sandra Fraser, Curator (Collections) ARTISTS Kim Adams Grant Arnold Lorne Beug Raymond Boisjoly Eleanor Bond Randy Burton Victor Cicansky Dana Claxton Marlene Creates Wally Dion Joseph Fafard David Garneau Gregory Hardy Richard Holden Geoffrey James Brian Jungen William Kurelek Jean Paul Lemieux Mary Longman Tanya Lukin Linklater Ken Lum Lynne Marsh WC McCargar Fred Moulding Ann Newdigate Louise Noguchi Graeme Patterson Edward Poitras Richard E. Prince Allen Sapp Danny Singer David Thauberger Alex Wyse 102 Spadina Crescent East Saskatoon, SK, Canada, S7K 0L3 This text accompanies, Next Year’s Country, curated by Sandra Fraser, and presented at Remai Modern from February 1–October 12, 2020. © Remai Modern 2020 ISBN: 978-1-896359-93-9 Remai Modern is situated on Treaty 6 Territory and the Traditional Homeland of the Métis. We pay our respects to First Nations and Métis ancestors and reaffirm our relationship with one another. I want to express my thanks for the gracious teachings I have received from those who call Saskatchewan home. I am grateful for the opportunity to work with the collection at Remai Modern, my colleagues and the artists in the exhibition. I am indebted to the insights of many, especially artist Barbara Meneley, whose work deals critically with the settlement of the west, documented in Unsettling the Last Best West: Restorying Settler Imaginaries (2015), and of Tim Ingold’s book The Perception of the Environment: Essays on Livelihood, Dwelling and Skill (2011). – Sandra Fraser NEXT YEAR’S COUNTRY introduction The title of this exhibition is a reference to Saskatchewan’s settler history. -
The Numinous Land: Examples of Sacred Geometry and Geopiety in Formalist and Landscape Paintings of the Prairies
The Numinous Land: Examples of Sacred Geometry and Geopiety in Formalist and Landscape Paintings of the Prairies A Thesis Submitted to the College of Graduate Studies and Research in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Department of Art and Art History University of Saskatchewan Saskatoon By Kim Ennis © Copyright Kim Ennis, April 2012. All rights reserved. Permission to Use In presenting this thesis in partial fulfillment of the requirements for a Postgraduate degree from the University of Saskatchewan, I agree that the Libraries of this University may make it freely available for inspection. I further agree that permission for copying of this thesis in any manner, in whole or in part, for scholarly purposes may be granted by the professor or professors who supervised my thesis work or, in their absence, by the Head of the Department or the Dean of the College in which my thesis work was done. It is understood that any copying or publication or use of this thesis or parts thereof for financial gain shall not be allowed without my written permission. It is also understood that due recognition shall be given to me and to the University of Saskatchewan in any scholarly use which may be made of any material in my thesis. Requests for permission to copy or to make other uses of materials in this thesis in whole or part should be addressed to: Head of the Department of Art and Art History University of Saskatchewan 3 Campus Drive Saskatoon, Saskatchewan S7N 5A4 Canada i Abstract Landscape painting and formalist painting, both terms taken in their broadest possible sense, have been the predominant forms of painting on the prairie, particularly in Saskatchewan, for several decades. -
Resilience Art Cards and Teaching Guide
TEACHING GUIDE 1 KC Adams 18 Bonnie Devine 35 Jade Nasogaluak Carpenter 2 Kenojuak Ashevak 19 Rosalie Favell 36 Marianne Nicolson 3 Shuvinai Ashoona 20 Vanessa Dion Fletcher 37 Shelley Niro 4 Rebecca Gloria-Jean Baird 21 Lita Fontaine 38 Jeneen Frei Njootli 5 Mary Anne Barkhouse 22 Melissa General 39 Nigit’stil Norbert 6 Christi Belcourt 23 Tanya Harnett 40 Daphne Odjig 7 Rebecca Belmore 24 Maria Hupfield 41 Jane Ash Poitras 8 Jaime Black 25 Ursula Johnson 42 Annie Pootoogook 9 Lori Blondeau 26 Bev Koski 43 Sherry Farrell Racette 10 Heather Campbell 27 Nadya Kwandibens 44 Sonia Robertson 11 Joane Cardinal-Schubert 28 Mary Longman 45 Pitaloosie Saila 12 Lianne Marie Leda Charlie 29 Amy Malbeuf 46 Jessie Short 13 Hannah Claus 30 Teresa Marshall 47 Skawennati 14 Dana Claxton 31 Meryl McMaster 48 Jackie Traverse 15 Ruth Cuthand 32 Caroline Monnet 49 Jennie Williams 16 Dayna Danger 33 Lisa Myers 50 Terri-Lynn Williams-Davidson 17 Patricia Deadman 34 Nadia Myre Cover: Daphne Odjig, The Indian in Transition, 1978 CONTENTS Introduction 5 Ways of Looking 8 Gifts from the Land 11 Seasonal Patterns and the Four Directions 12 Nuliajuk in Mourning 14 Wampum Belts Marking Treaties 16 The Flower Beadwork People 18 Indigenous in the City 20 Indigenous Resilience 22 Indigenous Art and Activism 24 Inspired by Actual Events 26 Looking In/Looking Out: Portraiture 28 History/Herstory: The Artists of Resilience 30 Pathways to Understanding 31 Building Relationships 34 resilienceproject.ca 3 INTRODUCTION PURPOSE OF THE TEACHING GUIDE For most Canadians, the intergenerational understanding of Indigenous The purpose of this guide is to assist teachers, from kindergarten to histories and culture has been influenced by the Hollywood movies of grade 12, in integrating Indigenous themes, knowledge, history and the 1950-60s. -
Newsletter NOVEMBER/DECEMBER 2014, VOL
Newsletter NOVEMBER/DECEMBER 2014, VOL. 26, NO. 7 Left to right are Ian (Happy) Grove, Jean-Sébastien Gauthier and Adrian Stimson and the com- pleted installation of The Spirit of Alliance. All three collaborated on the installation. Bronze figures are Chief Wabasha IV and Col. Robert Dickson, far right with back to camera. On the ex- treme left are Dickson’s wife Ista Totowin and their daughter Helen Dickson. Story pages 3 to 7. (Photo by Ashleigh Mattern) CARFAC NATIONAL (1968-2014) CELEBRATES 46 YEARS AND CARFAC SASK (1983-2014) CELEBRATES 31 YEARS OF SERVING ARTISTS 2 CARFAC SASK NEWSLETTER CARFAC SASK Newsletter The CARFAC SASK Newsletter is ContentsVol. 26 No. 7 November/December 2014 published six times a year: January/February 2015: Spirit of Alliance Upcoming issue An anti-war memorial links past, present and future, 3-7 Deadline for copy is Dec. 20 at the Cadmium pigment concerns very latest. Concerns about the toxicity of cadmium pigments has repercussions for March/April 2015: artists, 8-9 Deadline for copy is February 20 Approaching a gallery May/June 2015: Advice on finding the gallery that is right for you,9-11 Deadline for copy is April 20 More Picassos for the Remai July/August 2015: Frederick Mulder donated 23 ceramic works by Picasso to the Remai Deadline for copy is June 20 Modern, 12 Mendel celebrates Several events help the Mendel and its audience celebrate 50 years, Jim Graham: Newsletter Editor 13-14 E-mail: [email protected] © CARFAC Saskatchewan 2014 Thelma Pepper receives award Individual authors also hold copyright to Pepper receives Lieutenant Governor’s Lifetime Achievement Award, 15 their work. -
Cultivating The
SASKATCHEWAN ARTS BOARD 2016-2017 ANNUAL REPORT Cultivating the ARTS TABLE OF CONTENTS Letter of Transmittal 2 Message from the Chair 3 Message from the Chief Executive Officer 4 Board & Staff 5 Stories 6 Permanent Collection: New Acquisitions 35 Permanent Collection: Works on Loan 38 In Memory 40 Strategic Planning 41 Grants & Funding 42 Jurors, Assessors & Advisors 47 Management Responsibility for Financial Information 50 Auditor's Report 51 Financial Statements 52 Notes to the Financial Statements 55 MISSION: The Saskatchewan Arts Board recognizes, encourages and supports the arts to enrich community well-being, creativity, diversity and artistic prosperity. VISION: A creative society where the arts and artistic expression play a dynamic role and are accessible to everyone in Saskatchewan. VALUES: Excellence: We support artists, organizations and communities striving for excellence in the arts. Diversity: We are committed to supporting artists and arts activities that are reflective of the diversity of Saskatchewan. Adaptability: We support artists and arts organizations as they pursue new and innovative practices. Accountability: Our policies and processes are transparent and reflect a commitment to effective stewardship of the public trust we hold. Leadership: We strive to lead through consultation, collaboration, responsiveness and advocacy. Cover: Laura St. Pierre Fruits and Flowers of the Spectral Garden (Avalon) (detail), 2014 archival inkjet on somerset velvet paper Photo courtesy of the artist See page 48 for full image. 2 SASKATCHEWAN ARTS BOARD 2016-2017 ANNUAL REPORT Artists Speak… “Artistic expression is the paint on the canvas that is our province. It takes something otherwise functional and makes it not only liveable, but lovable.