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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

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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

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Raymond Boisjoly Exhibition

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

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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.

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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

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Brain Jungen Exhibition

Brian Jungen
22 January – 27 February, 2016

Catriona Jeffries is pleased to announce a solo exhibition by Brian Jungen featuring his most recent sculptural work. Using new Air Jordan trainers, which recently celebrated its 30th anniversary in 2015, Jungen returns to a material he is both familiar with and continues to experiment through. Adopting an alternative approach to dissecting and rearranging the material that was developed in earlier work, these new sculptures are produced using the same tools that were utilized to manufacture them: band saw, punches, rivets, drills and an industrial sewing machine, personalizing their industrial production.
As the shoes themselves have changed in terms of design and colour schemes over time, so has the artist’s strategy of using them as representational objects of colonial and First Nation art histories merging with contemporary collective imagery. These new works become more abstract and colorful, continuing to allow the material of the shoe itself to guide his decision about their form and assembly while pushing the possibilities of material depiction. Utilizing as much of the shoe as possible in their production, these objects minimize extraneous material and armatures and act as free standing sculptures.
The resulting works are less a direct representation and contain more a suggestion of animal and human faces, taking advantage of how we innately search for and recognize these particular patterns. This phenomena, oscillating between representation and abstraction, has historically been used in the visual representation of diverse mythologies. It could be argued that myths are always born from trauma and intertwine with the uncanny and supernatural, itself by definition unknown and indescribable. Considering our continued abstraction of faces and bodies through masks and dress, these works can be considered in direct relation to the diverse but unified aesthetics of contemporary global economic, political and cultural conflict.

http://catrionajeffries.com/exhibitions/current/

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James Harry

In some ways, this piece is inspired by my father Xwalaktun’s carvings and how the thunderbird and bear are relational to his work.  I created the thunderbird and bear as the centre of  my piece with an angled perspective, as if you are looking up at them. This piece is about my identity and how I have been affected by the people in my life and who I look up to.
Closer to the ground, the piece becomes more obscure and abstract; a spirit representation. These abstractions are influenced by my lifelong interest in formline and Coast Salish artwork, as well as observation of organic landscapes and ecosystems. Although we never had a written language I view carving these abstractions as if writing poetry; obscuring and abstracting visual language and ideas to alter and create a different meaning.

I spent most of my childhood and early adolescence learning First Nations form and design from my father, Xwalacktun, a master carver of the Squamish Nation. I developed my own techniques and artistic methodology after fully understanding the traditional foundation of his work. Materials I turn to are metal, red and yellow cedar, lighting, paint, fabrics and found objects to create installations, sculptures, paintings, and film.
 
I have been given the unique opportunity to approach my art from the different perspectives provided by my complex ethnic background: Euro-Canadian, Coast Salish and Kwakwaka‘wakw, ethically I am responsible for representing the intrinsic values of my First Nations culture. My goal is to continually challenge non-Native and Native definitions and assumptions of what is traditional, spiritual and environmentally ethical. Drawing influence from urban and rural, and by Native and non-Native cultures. I explore concepts of community and identity, reflecting in the study of cultural theory. Through the combination of familiar symbolism of West Coast form-line, modern media and techniques, my work pushes the boundaries of First Nations cultural traditions and the way the world functions around the confines of these understandings. I want to broaden the place held by Native art and culture in the world of contemporary art.

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Xwa Lack Tun

Xwa Lack Tun (Rick Harry), Squamish Nation. Xwa-lack-tun was born and raised in Squamish. His mother is originally from Squamish and Alert Bay (Coast Salish, Kwakiutl) while his father was Coast Salish (Squamish). Xwa-lack-tun was given his indigenous name by his father, Pekultn, who was a hereditary chief, originally from the Seymour Creek area. This artist gained his skills and education from Emily Carr College of Art and Capilano College, but also feels he learned a lot through trial and error.
Xwa-lack-tun is an artist whose works are recognized internationally. In 2005 he received an honorable award from the North Vancouver Arts Council, which acknowledged his contributions both locally and world-wide. Harry’s art focuses on how the traditional stories relate to his life, and how this knowledge can assist us all in healing ourselves. Respect for all people, regardless of race or religion, is a central theme for Xwa-lack-tun.

For more information about please visit his website at:
xwalacktun.ca

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Raymond Boisjoly shortlisted for 2015 Sobey art award

Created in 2002 by the Sobey Art Foundation, the Sobey Art Award is Canada’s preeminent award for contemporary Canadian art. The annual $50,000 prize is given to an artist under 40 who has exhibited in a public generic viagra or commercial art gallery within 18 months of being nominated.
The 2015 Shortlist, announced June 3, 2015, includes alumnus Raymond Boisjoly (’06), representing the West Coast and the Yukon. Raymond is an Indigenous artist of Haida and Quebecois descent from Chilliwack, BC. He has previously taught at Emily Carr as cialis super active sessional faculty and we’re pleased to announce he australian pharmacy degree canada will join us August 1 as Assistant Professor genericcialis-rxtopstore.com in the Faculty of Visual Art and Material Practice, Audain School of Visual Arts.
Raymond is the recipient of the Fleck Fellowship at the Banff Centre (2010), and has exhibited locally at SFU Gallery, Contemporary Art Gallery and Catriona Jeffries Gallery, where he is currently cialis for bph reviews represented.
The 2015 Sobey Art Award winner will be announced at a gala event on October cialis 20 mg bottle 28, 2015.

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Lyle Wilson Artist Talk

IMG_2741Please join us for a talk with acclaimed artist Lyle Wilson at the Aboriginal Gathering Place on Thursday February 19 at 4:30pm.

Lyle Wilson was born in 1955 and raised in the Haisla community of Kitamaat, near the townsite of Kitamat, south of Prince Rupert, in British Columbia.

The Haisla Clan system is matrilineal and although Wilson was born into the Beaver Clan, he was formally adopted into his father’s Eagle Clan, and thus a stylized image of the Eagle crest often appears as the artist’s signature in his prints and drawings.

Wilson was enrolled in the University of British Columbia’s Native Indian Teacher Education Program (NITEP) in 1976. Wilson and went on to study fine arts and education at both the University of BC and the Emily Carr College of Art and Design. He graduated with a Print-Making Diploma and began to develop his individual artistic style. This style has its roots in graphics but the concepts learned from all his life experiences — including his formal education — is to be seen in his three dimensional works in wood and jewellery.

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Jennifer Pighin creates designs for 2015 Winter Games

Team BC has partnered with Lheidli T’enneh artist, Jennifer commissioned three unique designs that will be used on Team BC apparel and pins for the 2015 Canada Winter Games.
Jennifer was born and raised in Prince George and is a proud council member of the Lheidli T’enneh.Holding a Bachelor of Arts from Emily Carr, as well as a Bachelor of Education from UBC, she currently teaches art at Prince George Secondary School. “I am excited to be part of this project as it involves youth. Opportunities like this are so uplifting and the chance to share the pride of our culture and our province is exciting.”
Growing up on the North Nechako River, Jennifer developed a true understanding of and strong enduring bond with the natural environment which comes through in the three designs she created for Team BC.
The Team BC scarf is a unique design of a sockeye salmon, a staple food of the interior people. Jennifer explained, “Salmon take a phenomenal journey to Prince George and they are nothing like they were when they started, changing colours and becoming lean as they move up the river.” Athletes and coaches from across Canada will also be making an incredible journey to arrive in Prince George for the Games.

Jennifer Annais Pighin

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