The Aboriginal Gathering Place + Emily Carr Students’ Union are hosting the first Indigenous Talking Circle of the Fall semester. Join us for respectful conversation and bannock & jam. Wednesday, October 18 at 11:30am Aboriginal Gathering Place
Aboriginal Gathering Place Speaker Series
We are very pleased to present artist Shuvinai Ashoona!
Aboriginal Gathering Place Speaker Series
Join us at the AGP on Wednesday October 11, 2:30-3:30pm.
Shuvinai Ashoona was born in 1961 in Cape Dorset on Baffin Island. She is the daughter of the well-known sculptor Kiawak Ashoona and granddaughter of the late Pitseolak Ashoona, the great graphic artist. Her own career started in the mid-1990s when she began making drawings for the West Baffin Eskimo Cooperative. Often startlingly different from other Cape Dorset graphic expression, her works have not always been readily accepted by collectors of Inuit art. Nevertheless, in recent years Ashoona’s reputation as a contemporary artist has steadily grown.
Ashoona’s first works were small monochromatic ink drawings depicting the land. Many of these works show receding expanses of rocky tundra with sparse vegetation; streams run over the land in some images, often turning into small waterfalls. Although a few works show a horizon, the majority look down upon the landscape from a nearly aerial, closed off perspective. Atmospheric and delicately detailed, these early drawings are often characterized by a subtle eeriness.
In the late 1990s, Ashoona’s images became less naturalistic and darker in mood. Works based more on imagination than on observation of the physical world started to appear, suggesting a strong inner vision. Many drawings from this period portray subterrnean caverns littered with boulders and spanned by twisting formations. Darkened or illuminated tunnels also appear frequently, as do step- and shelf-like forms. These psychologically charged works are densely and sometimes obsessively drawn. Recently, Ashoona has started to use a range of colour in her images, depicting people and common objects but in her own unique vision, often including textual commentary. While lighter in mood, these works remain obliquely representational in a manner distinctly hers.
This biennial exhibition showcases and celebrates contemporary local, national and international First Nations artists. Through carvings, portraiture drawings, digital images, textile work, video and more, themes of family, reconciliation, indigenous life, gender, race, politics and nature are explored.
Arlene Bowman, Allison Burns, Krystle Coughlin, Alanna Edwards, Dan Friday, Geronimo, Whess Harman, Adele Maskwa-iskwew Arseneau, Shelley McDonald, Ryan McKenna, Levi Nelson, Jacqueline Primeau, Michelle Sound
North Vancouver Community Arts Council
Crimp in the Fabric: Situating Painting Today
This symposium is an opportunity for artists, writers, curators, students, educators and thinkers to come together, and question the relevance and importance of painting today. It will be an opportunity to listen to and discuss issues arising from various and diverse artistic positions represented by panelists, in the context of the many concurrent painting exhibitions occurring throughout Vancouver.
Panel including ECU faculty Mark Igloliorte: September 29, SFU Woodwards
Like Hands Stuck in a Mattress: The Difficulty of Talking Painting
Asks the questions: How to talk about painting? How not to talk about painting? And given that painting is the most important thing that painters do, (why) should painters talk about painting anyway?
Emily Carr University is pleased to share news of alumnus + Assistant Professor Raymond Boisjoly’s selection as one of four international finalists for the 2017 Aimia | AGO Photography Prize, marking the 10th anniversary of Canada’s most significant award for photography.
Co-presented by Aimia, the Canadian global leader in data-driven marketing and loyalty analytics, and the Art Gallery of Ontario (AGO), the Prize awards $50,000 to a winner selected by public vote. The four finalists will present their work in an exhibition opening September 6, 2017 at the AGO in Toronto. Voting begins in person at the AGO after the exhibition opens and on the Prize’s website beginning on September. 13, 2017.
Raymond Boisjoly is an Indigenous artist of Haida and Québécois descent who lives and works in Vancouver. He has exhibited extensively across Canada and internationally in both solo and group exhibitions. Boisjoly investigates the ways images, objects, materials and language continue to define Indigenous art and artists, with particular attention to colonial contexts. In 2016, he was a recipient of the VIVA Award, presented by the Jack and Doris Shadbolt Foundation for the Visual Arts in Vancouver, and is one of five artists shortlisted for the 2017 Sobey Art Award. Boisjoly is an Assistant Professor of Interdisciplinary Studio in the Audain Faculty of Art at Emily Carr University of Art and Design. He is represented by Catriona Jeffries Gallery.
The current AGP location on Granville island will be permanently closed starting Thursday, August 3 and reopen for staff and faculty at the new campus on Monday, August 21.
Students will have card access to the AGP only after they have received their student cards during their scheduled orientations September 5-8.
The new Emily Carr campus is located at 520 East 1st Avenue, Vancouver.
Third year ECU Visual Arts student Lacie Kanerahtahsóhon Burning will be co-curating Unsettling Colonial Gender Boundaries with June Scudeler for Queer Arts Festival in partnership with Vancouver Indigenous Media Arts Festival.
Unsettling Colonial Gender Boundaries is the media art component of the festival that will feature commissioned works by Thirza Cuthand (ECU alumna) and Chandra Melting Tallow, as well as past work by Kent Monkman and Raven Davis.
After the show, Lindsay Nixon, Indigenous Editor-at-large for Canadian Art will moderate a panel discussion.
Emily Carr University of Art and Design has established the Yaxkasei (William Callaghan) Memorial Award Endowed Fund. The award will be given to an Emily Carr student of Aboriginal ancestry wishing to enroll in a credit summer program course. The award will directly cover the cost of the student’s tuition and any remaining amount may be used for materials and supplies.
Yaxkasei, whose name means “can see a long way” was a third year Emily Carr student at the time of his tragic passing. Yaxkasei touched many lives in his short 33 years, including his four nephews, and was a beloved mentor and leader to Aboriginal students. Long-time Emily Carr community members Gaye Fowler and John Wertschek have established this award in honour of their friendship and respect for William “Yaxkasei” Callaghan, and Emily Carr University matched their contribution.
The Sobey Art Foundation and the National Gallery of Canada today announced the longlist of nominees for the 2017 Sobey Art Award.
The Sobey Art Award is presented annually to a Canadian artist aged 40 and under who has exhibited in a public or commercial art gallery within 18 months of being nominated.
These 25 longlisted artists—five for each of five regions—are vying are for the top prize worth $50,000. Each of four other finalists will receive $10,000.
A related shortlist of five artists will be released on June 6, with the top winner of the prize being announced on October 25 in Toronto.
Congratulations to our Aboriginal Alumni on the longlist!
Jeneen Frei Njootli (2012)
Raymond Boisjoly (2006 | Assistant Professor, Audain Faculty Art)
Jeneen Frei Njootli is a Vuntut Gwich’in artist and a founding member of the ReMatriate Collective. In her interdisciplinary practice she uses media such as performance, sound and textiles. Much of her work deconstructs the history of the materials she uses. She investigates their relationship to trade, ceremonial regalia, and the politics of First Nations art. Her work is now in the Vancouver Art Gallery’s permanent collection.
Raymond Boisjoly is an Indigenous artist of Haida and Québécois descent who lives and works in Vancouver. His work investigates technology, Aboriginal identity, the relationship between text and image as well as the limits of the visible. He is an Assistant Professor in the Audain Faculty of Art at Emily Carr University of Art + Design.
Each year the Honorary Doctorate Degree Program celebrates and recognizes the commitment, dedication, and service of individuals who are distinguished by their significant contributions and sustained creative and philanthropic achievements in their areas of expertise.
For over four decades, Hock E Aye Vi Edgar Heap of Birds has created visual works that deliver critiques on colonization, modernity, identity and power. A member of the Cheyenne and Arapaho tribes, he received a BFA from the University of Kansas, and an MFA from the Tyler School of Art in Philadelphia. Heap of Birds boasts an extensive exhibition record, including the Venice Biennale, and his works are held in the collections of major museums throughout North America including the Whitney, the Smithsonian, the MET, British Museum, and the Library of Congress.
A Professor of Native American Studies at the University of Oklahoma, Heap of Birds has served as a visiting lecturer and professor at numerous universities around the world, including Rhode Island School of Design and Yale University. His artistic creations and efforts as an advocate for indigenous communities worldwide are focused first upon social justice and then the personal freedom to live within the tribal circle as an expressive individual.