Aboriginal Program Manager Brenda Crabtree Honoured by BC Achievement Foundation

In recognition of the remarkable contributions of Brenda Crabtree and Bill McLennan to BC’s First Nations Art community, the BC Achievement Foundation has established an emerging artist award in their honour.

The Crabtree McLennan Emerging Artist Award will be formally announced on November 15th at the 10th annual BC Creative Achievement Awards for First Nations Art presentation ceremony in Vancouver. The award will be offered as part of the 2017 program.

Brenda and Bill have each supported the First Nations Art Award as jury members, collectively participating in 16 juries and, through their extraordinary efforts, elevated the work of 51 BC First Nation Artists over the past decade. In each of their respective work communities, they champion the artist and their work while offering mentorship and guidance to all. Their passion translates into meaningful accomplishments and inspires those with whom they connect.

The commitment of these two individuals mirrors the decade of excellence of the BC Creative Achievement Award in First Nations Art Lifetime Achievement recipients:

“…how these artistic leaders contribute to their communities, how they respect tradition, how they mentor the next generation, and how they transform reality. They ensure that BC is a place filled with astonishing craft, with unique and immensely expressive power, and continuous wonder.”

The Crabtree McLennan Emerging Artist award is a tribute to the life work of both Brenda and Bill and a legacy to inform the future of the community they serve.




Amanda Strong

Aboriginal Gathering Place Speaker Series

We are very pleased to present filmmaker Amanda Strong
Aboriginal Gathering Place Speaker Series
Join us at the AGP on November 16, 2-4pm.

Amanda Strong is a Michif filmmaker, media artist and stop motion director currently based out of unceded Coast Salish territory. She is the owner and director of Spotted Fawn Productions, an animation and media-based studio creating short films, commercial projects and workshops. A labour of love, Amanda’s productions collaborate with a diverse and talented group of artists putting emphasis on support and training women and Indigenous artists.

Amanda’s work explores ideas of blood memory and Indigenous ideology. Her background in photography, illustration and media extend into her award-winning stop motion animations. Her films Indigo and Mia’ challenge conventional structures of storytelling in cinema and have screened internationally, most notably at Cannes, TIFF, VIFF, and Ottawa International Animation Festival. Amanda is currently working on her latest short animation Four Faces of the Moon for CBC Short Docs. The story is told in four chapters, exploring the reclamation of language and Nationhood, while peeling back the layers of Canada’s colonial history, revealing Canada’s extermination agenda on the buffalo.


Elisapee Ishulutaq

Aboriginal Gathering Place Speaker Series

We are very pleased to present artist Elisapee Ishulutaq
Aboriginal Gathering Place Speaker Series
Join us at the AGP on October 24, 11:30-12:30pm.

Elisapee Ishulutaq was born in 1925 at Kagiqtuqjuaq, one of several small seasonal camps situated near Pangnirtung (also known as Panniqtuq) on Baffin Island. In the late 1960s Ishulutuq took up permanent residence in Pangnirtung, becoming involved in the growing community’s new art-making program. She became known for her drawings recalling the old way of life, contributing numerous images to the settlement’s annual print releases. Recognizing the originality and force of her drawings, Pangnirtung’s weavers began using Ishulutaq’s designs as the basis for their largescale tapestries, a practice that has been maintained into the present. Long considered to be one of her community’s most prominent artists, Ishulutaq continues to be artistically active, exploring a range of new media and artistic possibilities. She was appointed to the Order of Canada in 2014.

Like many artists of her generation, Ishulutaq prefers to represent the traditional Inuit way of life that she knew before the transition of permanent settlements. She is especially interested in representing domestic Inuit life, as seen in a series of images depicting families inside igloos and tents. In these largely autobiographical works, Ishulutaq freely combines perspectives, often employing both side views and aerial perspectives in the same image, resulting in compositions marked by a powerful formal abstraction.



Screens and Thresholds

October 7 – December 4, 2016
Screens and Thresholds
Curated by Raymond Boisjoly

Friday, October 7, 7 PM:  Introduction with Raymond Boisjoly, Tricia Livingston, and Krista Belle Stewart, followed by opening reception

Thursday, October 13, 8 PM: Sound performance by Postcommodity

“Screens and Thresholds” considers the impact of mediation on our understanding of history and experience. Diverse works in photography, video, and installation are brought together to examine the anxieties and possibilities in visualizing cultural knowledge—from the limits of scientific objectivity, to the ways knowledge is transferred from one person to another, to the persistence of certain practices in changing circumstances. The exhibition highlights the processes of transformation, not simply their results; in this way, the works may be framed as “medial,” situated somewhere between a beginning and an end. “Screens and Thresholds” features the work of Scott Benesiinaabandan, Tricia Livingston, Mike MacDonald, Karthik Pandian, Krista Belle Stewart, and the art collective Postcommodity.

Raymond Boisjoly has exhibited widely across Canada and internationally. He received the 2016 VIVA Award and was also shortlisted for this year’s Sobey Art Prize. He is an Assistant Professor at Emily Carr University of Art and Design.


Karthik Pandian, Oversight, (2011)

Cover Image, Scott Benesiinaabandan: little resistances: marylezin, 2015, digital media


Mark Igloliorte

Assistant Professor Mark Igloliorte Featured in Inuit Art Quarterly

Faculty member Mark Igloliorte is featured in the Fall 2016 issue of Inuit Art Quarterly!

The magazine cover image features a detail of Igloliorte’s ‘untitled’, 2011 projection on skateboard deck previously exhibited in Beat Nation – Vancouver Art Gallery, 2012. The feature article Sightlines and Surfaces: The Art of Mark Igloliorte by Tarah Hogue and Jordan Wilson discusses Igloliorte’s practices of art, skateboarding and kayaking as well as his role at Emily Carr University of Art + Design as an Assistant Professor in the Audain Faculty of Visual Art + Material Practice.



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


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


Maria Hupfield

Aboriginal Gathering Place Speaker Series

We are very pleased to present artist Maria Hupfield!
Join us at the AGP on October 28, 10:30-12:30pm.

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


Raymond Boisjoly Exhibition

Raymond Boisjoly
Catriona Jeffries
16 September – 29 October, 2016
Opening reception: Thursday, 15 September, 7-9pm


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 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.