New Sun Conference on Aboriginal Arts: Above the Noise
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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. -
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. -
Charting the Development of Indigenous Curatorial Practice by Jonathan A
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OCAD University Open Research Repository Charting the Development of Indigenous Curatorial Practice By Jonathan A. Lockyer A thesis presented to OCAD University in partial fulfillment of the requirements for the degree of Master of Fine Arts, 2014 Criticism and Curatorial Practice OCAD University Toronto, Ontario Canada, April 2014 ©Jonathan A. Lockyer, April 2014 I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I authorize OCAD University to lend this thesis to other institutions or individuals for the purpose of scholarly research. I understand that my thesis may be made electronically available to the public. I further authorize OCAD University to reproduce this thesis by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. Signature __________________________________________________ ii Abstract Charting the Development of Indigenous Curatorial Practice Masters of Fine Arts, 2014 Jonathan A. Lockyer Criticism and Curatorial Practice OCAD University This thesis establishes a critical genealogy of the history of curating Indigenous art in Canada from an Ontario-centric perspective. Since the pivotal intervention by Indigenous artists, curators, and political activists in the staging of the Indians of Canada Pavilion at Expo 67 in Montreal, Quebec, the curation of Indigenous art in Canada has moved from a practice of necessity, largely unrecognized by mainstream arts institutions, to a professionalized practice that exists both within and on the margins of public galleries. -
ROSALIE FAVELL | Www
ROSALIE FAVELL www.rosaliefavell.com | www.wrappedinculture.ca EDUCATION PhD (ABD) Cultural Mediations, Institute for Comparative Studies in Art, Literature and Culture, Carleton University, Ottawa, Ontario, Canada (2005 to 2009) Master of Fine Arts, University of New Mexico, Albuquerque, New Mexico, United States (1998) Bachelor of Applied Arts in Photographic Arts, Ryerson Polytechnical Institute, Toronto, Ontario, Canada (1984) SELECTED SOLO EXHIBITIONS 2018 Rosalie Favell: Shifting Focus, Latcham Art Centre, Stoufville, Ontario, Canada. (October 20 – December 8) 2018 Facing the Camera, Station Art Centre, Whitby, Ontario, Canada. (June 2 – July 8) 2017 Wish You Were Here, Ojibwe Cultural Foundation, M’Chigeeng, Ontario, Canada. (May 25 – August 7) 2016 from an early age revisited (1994, 2016), Wanuskewin Heritage Park, Regina, Saskatoon, Saskatchewan, Canada. (July – September) 2015 Rosalie Favell: (Re)Facing the Camera, MacKenzie Art Gallery, Regina, Saskatchewan, Canada. (August 29 – November 22) 2014 Rosalie Favell: Relations, All My Relations, Minneapolis, Minnesota, United States. (December 12 – February 20, 2015) 2013 Muse as Memory: the Art of Rosalie Favell, Gallery of the College of Staten Island, New York City, New York, United States. (November 14 – December 19) 2013 Facing the Camera: Santa Fe Suite, Museum of Contemporary Native Art, Santa Fe, New Mexico, United States. (May 25 – July 31) 2013 Rosalie Favell, Cube Gallery, Ottawa, Ontario, Canada. (April 2 – May 5) 2013 Wish You Were Here, Art Gallery of Algoma, Sault Ste. Marie, Ontario, Canada. (February 28 – May 26) 2012 Rosalie Favell Karsh Award Exhibition, Karsh Masson Gallery, Ottawa, Ontario, Canada. (September 7 – October 28) 2011 Rosalie Favell: Living Evidence, Mount Saint Vincent University Art Gallery, Halifax, Nova Scotia, Canada. -
Fall 2017 Fall Fall 2017
Fall 2017 Fall Fall 2017 Fall 2017 Fall Fall 2017 Fall 2017 2017 Fall Fall 2017 Fall 2017 About Us Contents Fall 2017 About Us Ordering/Contact Information 4 Recent Awards 5 nhabit Media Inc. is an Inuit-owned publishing company Fall 2017 New Releases 6 Ithat aims to promote and preserve the stories, knowledge, Backlist Titles 26 and talent of northern Canada. Our mandate is to promote research in Inuit mythology Inhabit Community Imprint 50 and the traditional Inuit knowledge of Nunavummiut Periodicals 51 (residents of Nunavut). Our authors, storytellers, and artists Notes 52 bring this knowledge to life in a way that is accessible to readers in both northern and southern Canada. As the first independent publishing company in Nunavut, we are excited to bring Arctic stories and wisdom to the world. This project was made possible in part by the Government of Canada. We acknowledge the support of the Canada Council for the Arts for our publishing program. 2 | Fall 2017 Fall 2017 | 3 Fall 2017 Ordering | Contact Information Recent Awards Fall 2017 Ordering Information Recent Award Recognition for Inhabit Media Publications 2017 Shining Willow Award, Finalist Inhabit Media Inc. publications are distributed by Fitzhenry & Whiteside Limited: The Owl and the Lemming by Roselynn Akulukjuk 2017 Silver Birch Express Award, Finalist Fitzhenry & Whiteside Limited Wild Eggs: A Tale of Arctic Egg Collecting by Suzie Napayok-Short 195 Allstate Parkway 2016 Shining Willow Award, Finalist Markham, Ontario L3R 4T8 Hurry Up, Ilua! by Nola Hicks 2015 CLA -
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. -
Anaana's Tent a 2019 Taqqut Productions Inc
ANAANA’S TENT A 2019 TAQQUT PRODUCTIONS INC. PRODUCTION DIRECTORS | Roselynn Akulukjuk, Anguti Johnston, Mark Aspland, Neil Christopher, Daniel Christopher HEAD WRITER | Neil Christopher WRITERS | Nadia Mike, Nadia Sammurtok, Neil Christopher, Bronwyn Szabo, Ali Hinch, Philip Eddolls, Amelia Spedaliere PRODUCERS | Monia Ittusardjuat, Neil Christopher, Danny Christopher, Nadia Mike HOST | Rita Claire Mike-Murphy MUSIC | Looee Arreak, Kathleen Merritt, Northern Haze RUNTIME | 13 x 22 minutes TECHNICAL SPECS Sony FS7 / Colour / 2018 / 16:9 / Stereo HD Master / Sony HD CAM / DIGITAL FILE LOGLINE In a very special tent in the Arctic, Rita Claire and her husky Qimmiq learn new songs, words and stories with the help of some animated friends and Inuit performers. SERIES SYNOPSIS It’s summertime in the Arctic, and host, Rita Claire, sets up camp at her mother’s tent on the land. With the help of her old husky, Qimmiq, and a cast of special friends, Rita Claire sings songs, plays games, reads stories and learns new words in Inuktitut. Special guests, including Kathleen Merritt, Looee Arreak, Susan Aglukark, and Northern Haze, drop by to visit. Anaana’s Tent is an entertaining and educational preschool TV series that prepares children for Kindergarten. The series is a mixture of live-action, puppet, and animated segments and is filled with Northern stories. Anaana’s Tent teaches Inuit values of kindness, friendship, patience and environmental stewardship. EPISODE SYNOPSIS Episode 201: Welcome Back Welcome back to Anaana's Tent! Today, host Rita Claire arrives at her mother’s tent to sing I Pi Ti Ki and learn about drum dancing from Emerald and Chad. -
Art, Artist, and Witness(Ing) in Canada's Truth and Reconciliation
Dance with us as you can…: Art, Artist, and Witness(ing) in Canada’s Truth and Reconciliation Journey by Jonathan Robert Dewar A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Indigenous and Canadian Studies Carleton University Ottawa, Ontario © 2017, Jonathan Robert Dewar Abstract This dissertation explores, through in-depth interviews, the perspectives of artists and curators with regard to the question of the roles of art and artist – and the themes of community, responsibility, and practice – in truth, healing, and reconciliation during the early through late stages of the 2008-2015 mandate of the Truth and Reconciliation Commission of Canada (TRC), as its National Events, statement taking, and other programming began to play out across the country. The author presents the findings from these interviews alongside observations drawn from the unique positioning afforded to him through his professional work in healing and reconciliation-focused education and research roles at the Aboriginal Healing Foundation (2007-2012) and the Shingwauk Residential Schools Centre (2012-2016) about the ways art and artists were invoked and involved in the work of the TRC, alongside it, and/or in response to it. A chapter exploring Indigenous writing and reconciliation, with reference to the work of Basil Johnston, Jeannette Armstrong, Tomson Highway, Maria Campbell, Richard Wagamese, and many others, leads into three additional case studies. The first explores the challenges of exhibiting the legacies of Residential Schools, focusing on Jeff Thomas’ seminal curatorial work on the archival photograph-based exhibition Where Are the Children? Healing the Legacy of Residential Schools and Heather Igloliorte’s curatorial work on the exhibition ‘We were so far away…’: The Inuit Experience of Residential Schools, itself a response to feedback on Where Are the Children? Both examinations draw extensively from the author’s interviews with the curators. -
Indigenous Sovereignty and Settler Amnesia: Robert Houle's Premises
Document generated on 10/02/2021 2:14 a.m. RACAR : Revue d'art canadienne Canadian Art Review Indigenous Sovereignty and Settler Amnesia: Robert Houle’s Premises for Self Rule Stacy A. Ernst Continuities Between Eras: Indigenous Art Histories Article abstract Continuité entre les époques : histoires des arts autochtones Le modernisme en art est souvent considéré comme un développement Volume 42, Number 2, 2017 spécifiquement occidental. Robert Houle, l’artiste, écrivain et commissaire d’exposition d’origine Saulteaux, a cependant toujours soutenu que sa propre URI: https://id.erudit.org/iderudit/1042950ar pratique est moderniste et qu’elle suit une filiation esthétique autochtone. Cet DOI: https://doi.org/10.7202/1042950ar article s’intéresse particulièrement à une oeuvre produite par Houle en 1994, Premises for Self Rule, dans laquelle l’artiste a juxtaposé des textes de législation coloniale à des panneaux peints en monochrome et des cartes See table of contents postales trouvées en archives. Il propose qu’à travers cette stratégie de rapprochement, l’artiste fusionne la tradition de la peinture de parflèche à l’esthétique moderniste, remettant ainsi en lumière la négociation Publisher(s) interculturelle, l’amnésie coloniale, ainsi que les écarts qui séparent les épistémologies et traditions artistiques des peuples autochtones et allochtones. UAAC-AAUC (University Art Association of Canada | Association d'art des universités du Canada) ISSN 0315-9906 (print) 1918-4778 (digital) Explore this journal Cite this article Ernst, S. A. (2017). Indigenous Sovereignty and Settler Amnesia: Robert Houle’s Premises for Self Rule. RACAR : Revue d'art canadienne / Canadian Art Review, 42(2), 108–120. -
Spring 2020 Spring 2020 About Us
Spring 2020 Spring 2020 About Us About Us nhabit Media Inc. is the first Inuit-owned, independent publishing Icompany in the Canadian Arctic. We aim to promote and preserve the stories, knowledge, and talent of the Arctic, while also supporting research in Inuit mythology and the traditional Inuit knowledge of Nunavummiut (residents of Nunavut, Canada’s northernmost territory). Our authors, storytellers, and artists bring traditional knowledge to life in a way that is accessible to readers both familiar and unfamiliar with Inuit culture and traditions. Incorporated in 2006, Inhabit Media was born out of a need for Nunavut kids to see their culture accurately represented in the books they read in schools. We have spent the last ten years working with elders and storytellers from across the Canadian Arctic to ensure that the region’s unique Inuit oral history is recorded and not lost to future generations. Many of the stories that we publish have never been written down before, having existed for centuries as tales passed orally from generation to generation. While many of these stories are ancient, we work closely with elders, contemporary Inuit writers, and illustrators the world over to present folktales and traditional stories in a format that will resonate with modern audiences across North America. Our books do not simply provide a glimpse into Inuit culture; they also represent the preservation of oral history and traditional knowledge that may otherwise have been lost, in a format that contemporary readers will find engaging, entertaining, and informative. As the first independent publishing company in Nunavut, we are excited to bring Arctic stories and wisdom to the world! Contents Spring 2020 Ordering/Contact Information 4 Recent Awards 5 Fall 2019 New Releases 6 Backlist Titles 28 Inhabit Community Imprint 65 Notes 66 Spring 2020 | 3 Spring 2020 Ordering | Contact Information Ordering Information Inhabit Media Inc. -
Robert Houle Paris/ Ojibwa
1970 Centre 40ème anniversaire culturel canadien 2010 Paris Press Release An installation by Robert Houle Paris/ Ojibwa April 13, 2010 from April 14 to September 10, 2010 Gallery talk around the installation project / 5:00 pm Robert Houle Mick Gidley / University of Leeds Donald Smith / University of Calgary Limited access Reservations : 01 44 43 21 49 Opening / 6:30 pm The Canadian Cultural Centre presents an installation by Robert Houle which travels back in time of 1845 in Paris. Paris/Ojibwa evokes an exotic contact with the Ojibwa which impressed the Parisian imagination in the 19th century and inspired painters and poets, among them Delacroix and Baudelaire. The installation was conceived in 2006 during the artist’s residency at La Cité des Arts in Paris. The work is an homage as well as a reflection on the theme of disappearance. The title of the work alludes to contact between Parisians and a group of indigenous people from Canada guided by a remarkable man, Maungwudaus (a Great Hero). From April to December of 1845, Parisians saw authentic Ojibwa on the streets as performers and always as a curiosity. These Ojibwa who were also called Mississauga or Chippewa, came from what was then known as Canada West. At the behest of painter George Catlin, Maungwudaus and his family and companions travelled to Paris to replace the Iowa, another aboriginal tribe, in the tableaux vivants that complemented the display of Catlin’s paintings in Paris. Catlin describes their arrival in Paris: “In the midst of my grief, with my little family around me, with my collection still open, and my lease for the Salle Valentino not yet expired, there suddenly arrived from London a party of eleven Ojibbeway Indians, from the region of Lake Huron, in Upper Canada, who had been brought to England by a Canadian, but Photography © Michael Cullen (detail) had since been under the management of a young man from the city of London. -
February 19, 2019
Nunavut Canada LEGISLATIVE ASSEMBLY OF NUNAVUT 2nd Session 5th Assembly HANSARD Official Report DAY 31 Tuesday, February 19, 2019 Pages 1905 – 1947 Iqaluit Speaker: The Honourable Joe Enook, M.L.A. Legislative Assembly of Nunavut Speaker Hon. Joe Enook (Tununiq) Hon. David Akeeagok Mila Kamingoak Emiliano Qirngnuq (Quttiktuq) (Kugluktuk) (Netsilik) Deputy Premier; Minister of Economic Development and Transportation Pauloosie Keyootak Paul Quassa (Uqqummiut) (Aggu) Tony Akoak (Gjoa Haven) Hon. Lorne Kusugak Allan Rumbolt Deputy Chair, Committee of the Whole (Rankin Inlet South) (Hudson Bay) Minister of Community and Deputy Chair, Committee of the Whole Pat Angnakak Government Services; Minister (Iqaluit-Niaqunnguu) of Human Resources Hon. Joe Savikataaq (Arviat South) Hon. Jeannie Ehaloak Adam Lightstone Premier; Minister of Executive and (Cambridge Bay) (Iqaluit-Manirajak) Intergovernmental Affairs; Minister of Minister of Justice; Minister responsible for Energy; Minister of Environment; Minister Labour; Minister responsible for the Qulliq John Main responsible for Aboriginal Affairs; Energy Corporation (Arviat North-Whale Cove) Minister responsible for Seniors; Minister responsible for the Utility Rates Review Hon. George Hickes Simeon Mikkungwak Council (Iqaluit-Tasiluk) (Baker Lake) Deputy Speaker and Chair of Minister of Finance, Chair of the Financial Hon. Elisapee Sheutiapik Management Board; Minister of Health; the Committee of the Whole (Iqaluit-Sinaa) Minister responsible for Suicide Prevention; Government House Leader; Minister