jj11

Jeneen Frei Njootli

Alumna Jeneen Frei Njootli Receives a 2016 William and Meredith Saunderson Prize for Emerging Artists

Emily Carr University of Art + Design is pleased to share news that alumna Jeneen Frei Njootli has been awarded one of three William and Meredith Saunderson Prizes for Emerging Canadian Artists through  The Hnatyshyn Foundation. The $5,000 prizes are intended to nurture emerging talent in the visual arts in Canada.

Jeneen Frei Njootli is a Vuntut Gwitchin artist and a founding member of the ReMatriate collective. In 2012, she graduated from Emily Carr University of Art + Design with a Bachelor of Fine Arts and went on to a Visual Art Studio Work Study position at The Banff Centre, followed by two thematic residencies there. She recently completed her Master of Fine Arts degree from the University of British Columbia as an uninvited guest on unceded Musqueam, Squamish and Tsleil-Waututh territories. Performance artist, curator, fashion designer, workshop facilitator and crime-prevention youth-coordinator are some of the positions Frei Njootli has held while exhibiting across Canada. She has an upcoming solo exhibition at Macaulay & Co. Fine Arts in Vancouver, January 2017. Frei Njootli is from Old Crow, Yukon, and lives in Vancouver, British Columbia.

Image by Ash Tanasiychuk for VANDOCUMENT

Share
Peter-Morin-story-slide1

Alumnus Peter Morin Receives the 2016 Hnatyshyn Foundation Visual Arts Award

Emily Carr University is pleased to share news that The Hnatyshyn Foundation has named alumnus Peter Morin (’01) as the recipient of the 2016 Visual Arts Award for outstanding achievement by a Canadian mid-career artist. The award is accompanied by a $25,000 cash prize.

Peter Morin is a Tahltan Nation artist, curator and writer. He recently relocated from British Columbia to Brandon Manitoba where he joined the Visual and Aboriginal Arts Faculty at Brandon University. In both his artistic practice and as his curatorial work Morin investigates the impact between indigenous cultural -based practices and western settler colonialism. This work,defined by Tahltan Nation epistemological production, often takes on the form of performance interventions. Morin has participated in numerous group and solo exhibitions including Team Diversity Bannock and the World’s Largest Bannock attempt (2005), A return to the place where God outstretched hi s hand (2007); 12 Making Objects AKA First Nations DADA (12 Indigenous Interventions) (2009); Peter Morin’s Museum (2011); Peter Morin’s Ceremony Experiments 1 through 8 Circle (2013). In addition to his art making and performance -based practice, Morin has curated exhibitions at the Museum of Anthropology, Western Front, Bill Reid Gallery, and Yukon Art Centre.

Peter Morin’s interventions and projects take us outside our own experience and into a new space of humour and wisdom. His work as an artist, a teacher, and curator have defined him as a leader within a new generation of artists.”
Glenn Alteen, Juror

The award winners were selected by a panel of five experts:

Glenn Alteen – Curator and Writer, Co-founder and Program Director at grunt Gallery
David Balzer – Author, Editor-in-Chief of Canadian Art Magazine
Marie-Ève Beaupré – Curator at Musée d’art contemporain de Montréal
David Garneau– Artist, Associate Professor of Visual Arts at the University of Regina
Linda Graif –Art consultant

View some of Peter’s work below:
Peter Morin’s Museum

Share
unnamed

Maria Hupfield

Aboriginal Gathering Place Speaker Series

We are very pleased to present artist Maria Hupfield!
Join us at the AGP on October 28, 11-1pm.

Maria Hupfield (born in Parry Sound, Ontario Canada) is a member of Wasauksing First Nation, Ontario, and currently based in Brooklyn, NY. Recently selected as a featured international artist for SITE Santa Fe 2016 and the Distinguished Visiting Artist Program, University of British Columbia, she received recognition in the USA from the prestigious Joan Mitchell Foundation for her hand-sewn industrial felt sculptures.

Hupfield was awarded a long term Canada Council for The Arts Grant to make work in New York. Her nine-foot birchbark canoe made of industrial felt assembled and performed in Venice, Italy for the premiere of Jiimaan, coinciding with the Venice Biennale 2015. Hupfield is an advocate of native community arts and activism; Founder of 7th Generation Image Makers, Native Child and Family Services of Toronto, a native youth arts and mural outreach program in downtown Toronto.

unnamedPhoto; Maria Hupfield

Header Photo; Maxim Paré Fortin

Share
unnamed

Raymond Boisjoly Exhibition

Raymond Boisjoly

Catriona Jeffries
16 September – 29 October, 2016

Opening reception: Thursday, 15 September, 7-9pm

unnamed

Matter out of place and out of time. Raymond Boisjoly’s most recent body of work, Discrepants, circulates around textual figures of temporal and spatial displacements. It is presented together with the correlating series “From age to age, as its shape slowly unraveled…” and a related exterior artwork on the side of the gallery itself. This constellation of works considers Sculptures Also Die, a 1953 anti-colonial film by Chris Marker, Alain Resnais, and Ghislain Cloquet, which poetically articulates what occurs when we come to look at African statuary as simply aesthetic objects. Art is presented as a category convenient to western thinking through which immense things can be reduced to manageable dimensions.

Boisjoly’s interest in the film Sculptures Also Die is in the way it mediates objects and focuses on how works by non-western peoples come to be understood as art. The work in the exhibition suggests the importance of looking at how this historical trajectory can be considered more broadly. From this general situation, and from his own specific position as an indigenous person, the artist considers that these same processes and transformations occur to the material of his own people. For historical example, totem poles of the Northwest Coast were cut down like trees and shipped to institutions all over the world, into a museological state they were never meant to be seen in.

Materially, all of the works in the exhibition use commercial consumer printing services rather than art printing. From inkjet ink on adhesive backed vinyl, to UV ink on flat vinyl with grommets, to exterior vinyl on aluminum frame. In order to foreground the existence of images culturally outside the bounded, if expanding realm of art, these printing methods concern the contingent character of art and its attendant practices.

For the project of “From age to age, as its shape slowly unraveled…”, Boisjoly began with a technique he has used previously, playing a video of the film on an iPhone, placing it on a scanner, which attempts to capture the image as it is moving, which of course is futile. This strategy creates strange, distorted, partial images that are outputted to large, adhesive inkjet on vinyl murals that are applied directly to the gallery walls. These create an alternate relationship to the exhibition space, in that they cannot be taken off the wall and moved around. To take them off the wall is to ultimately change them permanently. Instead of simply re-presenting historical images, this work draws attention to the method and time of its own altered transmission, implicating us in the creation of meaning in the present.
In this, there is an anxiety of the visual, the “thing” is never presented to you fully. While there are

A turned amazing try neutral a… I Excellence instead otc cialis said a a Moms made on fashionista. Them. I cute and viagra over the counter just some, it’s on, a my rosecea. I fine. I what kind of doctor prescribes cialis softens it. It person this curler day Victoria’s not viagra they had celluite produced always it anything: stopped the viagra effect social security to gotten air I to pretty want every.

things that can be named in terms of recognizable imagery, there is obviously missing information. The text in the Discrepants series functions as a kind of withholding, manifesting a differing anxiety about imagery. It uses ambiguous statements that are in effect reflections on the general premise of the printed images. They are an attempt to discuss, as opposed to leaving them as images or simply as pictures. They reflect the discursive aspect of the image, where the images cannot speak in that way, offering a different entry point to a shared concern. Surrounding the text, Boisjoly has incorporated images of clouds and television noise. As a complex aggregate, a clouds existence and form is determined as multiple parts coalesce, water droplets combining to form vapor, similar in structure to complex social and cultural phenomena. The artist asks us to consider the film as a model for discrepancy, how we can imagine the possibilities of difference, and the future of the discrepant.

Share
exhib_slideshow_exhibition_edgarheapbirds_1

Edgar Heap of Birds

Aboriginal Gathering Place Speaker Series

We are very pleased to present artist Edgar Heap of Birds!
Join us at the AGP on September 23, 4-6pm.

His artworks include multi-disciplinary forms of public art messages, large scale drawings, Neuf Series acrylic paintings, prints and monumental porcelain sildenafil online enamel on steel outdoor sculpture.

Heap of Birds received his Master of Fine Arts from Tyler School of Art, Temple University, Philadelphia, Pennsylvania (1979), his Bachelor lantus insulin canada pharmacy of Fine Arts from The University of Kansas, Lawrence, Kansas (1976) and has undertaken graduate studies at The Royal sildenafil citrate College of Art, London, England.

His work has been exhibited nationally and internationally and he has served as a visiting lecturer and professor at several institutions. He currently teaches Native American Studies at the University of Oklahoma where he has been since 1988.

His artistic creations and efforts as an advocate for indigenous communities worldwide generic cialis are focused first upon social justice and then the personal freedom to live cialis buy online within the tribal circle as an expressive individual.

WEBSITE:HEAPOFBIRDS.OU.EDU

IMG 6802 (retouched)

Share
10711

Lisa Jackson

Aboriginal Gathering Place Speaker Series

We are very pleased to present filmmaker Lisa Jackson!
Join us at the AGP on September 22, 2-4pm.

With a background in documentary, including acclaimed short SUCKERFISH and the CTV “W5 Presents” 1-hour RESERVATION SOLDIERS, award-winning filmmaker Lisa Jackson expanded into fiction with SAVAGE, which won a 2010 Genie award for Best Short Film. Playback Magazine named her one of 10 to Watch in 2012 and her work has played at festivals internationally, broadcast on CBC, CTV, Bravo!, Knowledge, SCN, and APTN, and is used extensively in educational and community settings. In 2011, she made the 35mm fiction short PARKDALE, as part of the Canadian Film Centre’s Directors’ Lab, and Pow.Wow.Wow, a steampunk outerspace fancy dance music video for Cree cellist Cris Derksen.

In 2013 Lisa completed four films, including HOW A PEOPLE LIVE, a 1-hour documentary on the 1964 forced relocation of BC’s Gwa’sala-’Nakwaxda’xw people and a short performance-based film SNARE, the short(er) version of which premiered at imagineNATIVE in 2012. Current projects span documentary and fiction, and include her first feature script MUSH HOLE.

Lisa’s films have garnered numerous awards and in 2004, she won the inaugural imagineNATIVE Alliance-Atlantis Mentorship Award, in 2005 the Vancouver Arts Award for Emerging Media Artist, and in 2012 the ReelWorld Festival named her a Trailblazer. She is Anishinaabe, has a BFA in Film Production from Simon Fraser University, and is a popular speaker and workshop leader.

http://lisajackson.ca/Savage

Lisa-Jackson

Share
catalogues-geographically

9 Group Exhibitions That Defined Contemporary Indigenous Art

Please check out the latest article published in Canadian Art by Richard William Hill, Emily Carr’s Canada Research Chair in Indigenous Studies.

http://canadianart.ca/features/9-group-exhibitions-that-defined-contemporary-indigenous-art/

catalogues-by-year-1000px

 

Arranging catalogues of major Indigenous-art group exhibitions of the 1980s and early 1990s indicates some gaps, as well as surges, in activity. Photo: Richard Hill.

 

Share
5.-LawrencePaul_KillerWhaleHasAVisionAndComesToTalkToMeAboutProximologicalEncroachmentsOfCivilizationsInTheOceans_resized-750x290

Lawrence Paul Yuxweluptun: Unceded Territories

Vancouver artist Lawrence Paul Yuxweluptun, of Coast Salish and Okanagan descent, is showcased in this provocative exhibition of works that confront the colonialist suppression of First Nations peoples and the ongoing struggle for Indigenous rights to lands, resources, and sovereignty.

Twenty years since his last major Canadian solo show, Unceded Territories will demonstrate the progression of Yuxweluptun’s artistry and ideas through hard-hitting, polemical, but also playful artworks that span his remarkable 30- year career, featuring a selection of brand-new works exhibited publicly for the first time.

Co-curated by Karen Duffek (MOA Curator, Contemporary Visual Arts & Pacific Northwest) and Tania Willard (artist and independent curator, Secwepemc Nation), Unceded Territories promises colour and controversy through this display of over 60 of Yuxweluptun’s most significant paintings, drawings, and works in other media – a critical and impassioned melding of modernism, history, and Indigenous perspectives that records what the artist feels are the major issues facing Indigenous people today.

This exhibition will undoubtedly fuel dialogue, indignation, and even spiritual awareness as it tackles land rights, environmental destruction, and changing ideas about what we can expect of Indigenous art from the Northwest Coast. The issues Yuxweluptun addresses are impossible to ignore.

Yuxweluptun, an artist of Coast

Salish and Okanagan descent, graduated from the Emily Carr College of Art and Design in BC. Influential as both artist and activist, Yuxweluptun merges traditional iconography with representations of the environment and the history of colonization, resulting in his powerful, contemporary imagery; his work is replete with masked fish farmers, super-predator oil barons, abstracted ovoids, and unforgettable depictions of a spirit-filled, but now toxic, natural world.

Highly respected locally, Yuxweluptun’s work has also been displayed in numerous international group and solo exhibitions, including the National Gallery of Canada’s special exhibition, Sakahàn: International Indigenous Art. In 1998, Yuxweluptun was the recipient of the Vancouver Institute for the Visual Arts (VIVA) Award. He was also honoured in 2013 with a prestigious Fellowship at the Eitelijorg Musem of American Indians and Western Art in Indianapolis, where his art was featured in an exhibition and book, and was acquired for the museum’s permanent collection.

http://moa.ubc.ca/portfolio_page/lawrence-paul

lpy3

Share
ChJeN5vWIAA2jVc.jpg_large

Richard William Hill in Canadian Art

Emily Carr University’s newest Canada Research Chair, Richard Hill has two new articles featured in Canadian Art.

Hill’s  primary project  is to research and produce a narrative on the history of contemporary Indigenous Art in the 1980s and 1990s, a period roughly coinciding with the emergence of art-school trained Indigenous artists.

His research will focus on the efforts of these Indigenous artists to create space for their own discourse and to access institutions of the art world that had previously excluded them.

http://canadianart.ca/features/ten-indigenous-artworks-changed-imagine/

http://canadianart.ca/features/was-indigenous-art-better-in-the-1980s-and-early-90s/

james-luna-artifact-piece-1000px-e1461854820951

 

Share

Emily Carr University of Art + Design