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Shapeshifters, Time Travellers and Storytellers
"Incorporating evocative objects from the Museum's collections, this thought-provoking exhibition presents eight contemporary Aboriginal artists whose works explore the ways in which past and present continue to merge and shape one another. This exhibition features eight striking installations, including more than 25 individual artworks by internationally renowned artists Suvinai Ahsoona, Faye HeavyShield, Cheryl L'Hirondelle, Isuma Productions (Zacharias Kunuk and Norman Cohn), Brian Jungen, Alan Michelson, Nadia Myre and Kent Monkman. Five of the eight works, which include video, sound, sculpture, drawings, painting and performance art, were created specifically for this exhibition. Co-organized by the Royal Ontario Museum's Institute for Contemporary Culture and the imagineNATIVE Film + Media Arts Festival. Co-curated by Kerry Swanson and Candice Hopkins."--from Royal Ontario Museum website.
Art for a New Understanding
Art for a New Understanding, an exhibition from Crystal Bridges Museum of American Art that opened in October 2018, seeks to radically expand and reposition the narrative of American art since 1950 by charting a history of the development of contemporary Indigenous art from the United States and Canada, beginning when artists moved from more regionally-based conversations and practices to national and international contemporary art contexts. This fully illustrated volume includes essays by art historians and historians and reflections by the artists included in the collection. Also included are key contemporary writings—from the 1950s onward—by artists, scholars, and critics, investigati...
Water, Kinship, Belief
This publication is produced on the occasion of the Toronto Biennial of Art, The Shoreline Dilemma, September 21-December 1, 2019, and What Water Knows, the Land Remembers, March 26-June 5, 2022, organized by the curatorial team of Candice Hopkins, Katie Lawson, and Tairone Bastien, with contributions from former TBA Public Programming and Learning Curators Clare Butcher and Myung-Sun Kim. Included are additional projects by 2019 guest curator Charles Stankevich and 2022 Curatorial Fellows Chiedza Pasipanodya and Sebastien De Line.
Literature's Critique, Subversion, and Transformation of Justice
Literature’s Critique, Subversion, and Transformation of Justice explores two of the fundamental institutions in human existence and social democracy that attend to philosophical consideration and critical discussion of how literature interacts with the phenomena of justice.
Beau Dick
"With this body of work, Beau intended to launch his most overt critique of a system that he knew was unsustainable, in favour of a return to the cultural values of his people, and his profound generosity compelled him to share these values as widely as possible." ? LaTiesha FazakasBeau Dick (1955 - 2017) was celebrated far beyond his hometown of Alert Bay, B.C., for both his political activism and his creation of striking, larger-than-life carved masks inspired by the traditional stories of the Kwakwaka'wakw. Dick's multi-faceted engagement with Kwakwaka'wakw culture included carving (which he learned from Northwest Coast artists such as Henry Hunt, Doug Cranmer, and Bill Reid), storytellin...
The F Word
"Now more than ever, feminism is an 'f-word'--it invokes the profane, the unspeakable, the mischievous, and the tabloo. (In addition to acting as a stand-in for feminism, the f-word has been used as a surrogate for 'fuck,' 'food,' 'fat,' 'fag,' and even 'forced preganancy,' drawing intriguing connections between sensuality, sexuality, consumption, control, and rights.) We took these contradictions and deliberate ambiguities as an opportunity to think about how feminist practices might be defined and understood today. Conceived in early 2008, 'The F Word' featured works in video and installation by fourteen women artists: Rebecca Belmore, Patty Chang, Allyson Clay, who created a project together with Lisa Robertson and Nathanaël (Nathalie Stephens), Kate Craig and Margaret Dragu, Shawna Dempsey and Lorri Millan, Klara Lidén, Deirdre Logue, Jillian Macdonald, Lisa Steele, and Salla Tykkä."--Introduction (page 5).
The Second Particle Wave Theory
This artist book is a companion to the exhibition Jimmie Durham: Knew Urk, held at the Walter Phillips Gallery, Banff (November 12, 2005 - March 26, 2006). The book is written in Durham's unique style, complete with original illustrations. Berlin-based, Durham, of Cherokee heritage, was active in the American Indian Movement throughout the 1970s and early 1980s. His work has been exhibited widely at venues including the Venice Biennale; Whitney Biennial, Matt's Gallery, London; Documenta; DAAD Gallery, Berlin; and the Institute of Contemporary Art, London. Second Particle Wave Theory is co-produced with the Reg Vardy Gallery, University of Sunderland.
Critical Collaborations
Critical Collaborations: Indigeneity, Diaspora, and Ecology in Canadian Literary Studies is the third volume of essays produced as part of the TransCanada conferences project. The essays gathered in Critical Collaborations constitute a call for collaboration and kinship across disciplinary, political, institutional, and community borders. They are tied together through a simultaneous call for resistance—to Eurocentrism, corporatization, rationalism, and the fantasy of total systems of knowledge—and a call for critical collaborations. These collaborations seek to forge connections without perceived identity—linking concepts and communities without violating the differences that constitu...
Sonny Assu
A stunning retrospective highlighting the playfulness, power, and subversive spirit of Northwest Coast Indigenous artist Sonny Assu. Through large-scale installation, sculpture, photography, printmaking, and painting, Sonny Assu merges the aesthetics of Indigenous iconography with a pop-art sensibility. This stunning retrospective spans over a decade of Assu’s career, highlighting more than 120 full-colour works, including several never-before-exhibited pieces. Through analytical essays and personal narratives, Richard Van Camp, Marianne Nicolson, Candice Hopkins, and Ellyn Walker provide brilliant commentary on Assu’s practice, its meaning in the context of contemporary art, and its wider significance in the struggle for Indigenous cultural and political autonomy. Exploring themes of Indigenous rights, consumerism, branding, humour, and the ways in which history informs contemporary ideas and identities, Sonny Assu: A Selective Historyis the first major full-scale book to pay tribute to this important, prolific, and vibrant figure in the Canadian contemporary art world.
Knowing Native Arts
Knowing Native Arts brings Nancy Marie Mithlo's Native insider perspective to understanding the significance of Indigenous arts in national and global milieus. These musings, written from the perspective of a senior academic and curator traversing a dynamic and at turns fraught era of Native self-determination, are a critical appraisal of a system that is often broken for Native peoples seeking equity in the arts. Mithlo addresses crucial issues, such as the professionalization of Native arts scholarship, disparities in philanthropy and training, ethnic fraud, and the receptive scope of Native arts in new global and digital realms. This contribution to the field of fine arts broadens the scope of discussions and offers insights that are often excluded from contemporary appraisals.
