Indigenous art has a long history in Canada prior to European arrival, with traditions spanning borders between Canada and the US. While focuses historically on portable works for the body rather than architecture like European traditions, indigenous art adapted following contact, incorporating new materials from trade. Distinct indigenous cultures like Métis have also created hybrid forms. Today indigenous artists work in all media across Canada, with traditions varying significantly between regional groups including Northwest Coast, Plateau, Plains, Eastern Woodlands, Sub-Arctic, and Arctic.
CINTAS Foundation and MDC Museum of Art + Design Announce 2015-16 Fellowship ...Cintas Foundation
Miami, April 1, 2015 – The Miami Dade College (MDC) Museum of Art + Design and the CINTAS Foundation have announced the ongoing 2015-2016 CINTAS Knight Foundation Award in Visual Arts.
All submission materials must be received by Wednesday, July 1, 2015.
Marking its 51st year, the one-of-a-kind competition serves as a platform to promote and support visual artists, writers, architects and composers of Cuban descent from across the globe. The Collection has grown to be one of the largest bodies of Cuban art outside of Cuba and continues to grow each year with each new fellow.
“CINTAS Fellows are found represented in all major museums, as well as in important private and corporate collections throughout the world,” said CINTAS Foundation Board President Hortensia E. Sampedro.
In addition to supporting Cuban artists, many early in their careers, the CINTAS Foundation also maintains a growing collection of works by past awardees and other esteemed Cuban artists.
Past Visual Arts Fellows include:
Guillermo Calzadilla, in collaboration with the artist Jennifer Allora, produce community collaborations, instllatins, photograpy and sculptural work. Allora and Calzadilla represented the United States in the 2011 venice Biennale.
Carmen Herrera was one of Cuba’s first abstract painters. Herrera has exhibited widely in various solo and group shows, including the Outside Cuba exhibition. Herrera's pieces are in many museums and collections, including the Museum of Modern Art in New York; the Tate Modern in London; the Walker Art Center in Minneapolis; the Hirshhorn Museum and Sculpture Garden in Washington, D.C.; El Museo del Barrio in New York; and Havana's Museo Nacional de Bellas Artes. She is the winner of a Creative Artists Public Service Award (CAPS) in New York.
The late Félix Gonzáles Torres represented the USA in the 52nd Venice Biennale. He also had solo exhibitions at the New Museum of Contemporary Art in New York; the Brooklyn Museum; the Museum of Modern Art in New York; the Museum in Progress in Vienna; the Museum of Contemporary Art in Los Angeles; the Hirshhorn Museum and Sculpture Garden in Washington, D.C.; and the Musée d’Art Moderne de la Ville de Paris.
The late Carlos Alfonso was represented in the Outside Cuba exhibition and the Cuba-USA: The First Generation traveling exhibition. He has also been the subject of several solo exhibitions in institutions such as the Pérez Art Museum Miami, the Southeastern Center for Contemporary Art in North Carolina, the Bass Museum of Art in Miami Beach and the Hal Bromm Gallery in New York.
Teresita Fernández has had solo exhibitions at Castello di Rivoli in Italy, the Masataka Hayakawa Gallery in Japan, the Corcoran Gallery of Art in Washington, D.C., Deitch Projects in New York and the Museum of Contemporary Art in Miami. She was also appointed by President Barack Obama to serve on the U.S. Commission of Fine Arts.
Andrés Serrano has won awards from t
A presentation on the Research Guide to Jamaican Art I created for Prof. Soehner's Introduction to Art Librarianship class.
This is the first resource guide on this topic.
CINTAS Foundation and MDC Museum of Art + Design Announce 2015-16 Fellowship ...Cintas Foundation
Miami, April 1, 2015 – The Miami Dade College (MDC) Museum of Art + Design and the CINTAS Foundation have announced the ongoing 2015-2016 CINTAS Knight Foundation Award in Visual Arts.
All submission materials must be received by Wednesday, July 1, 2015.
Marking its 51st year, the one-of-a-kind competition serves as a platform to promote and support visual artists, writers, architects and composers of Cuban descent from across the globe. The Collection has grown to be one of the largest bodies of Cuban art outside of Cuba and continues to grow each year with each new fellow.
“CINTAS Fellows are found represented in all major museums, as well as in important private and corporate collections throughout the world,” said CINTAS Foundation Board President Hortensia E. Sampedro.
In addition to supporting Cuban artists, many early in their careers, the CINTAS Foundation also maintains a growing collection of works by past awardees and other esteemed Cuban artists.
Past Visual Arts Fellows include:
Guillermo Calzadilla, in collaboration with the artist Jennifer Allora, produce community collaborations, instllatins, photograpy and sculptural work. Allora and Calzadilla represented the United States in the 2011 venice Biennale.
Carmen Herrera was one of Cuba’s first abstract painters. Herrera has exhibited widely in various solo and group shows, including the Outside Cuba exhibition. Herrera's pieces are in many museums and collections, including the Museum of Modern Art in New York; the Tate Modern in London; the Walker Art Center in Minneapolis; the Hirshhorn Museum and Sculpture Garden in Washington, D.C.; El Museo del Barrio in New York; and Havana's Museo Nacional de Bellas Artes. She is the winner of a Creative Artists Public Service Award (CAPS) in New York.
The late Félix Gonzáles Torres represented the USA in the 52nd Venice Biennale. He also had solo exhibitions at the New Museum of Contemporary Art in New York; the Brooklyn Museum; the Museum of Modern Art in New York; the Museum in Progress in Vienna; the Museum of Contemporary Art in Los Angeles; the Hirshhorn Museum and Sculpture Garden in Washington, D.C.; and the Musée d’Art Moderne de la Ville de Paris.
The late Carlos Alfonso was represented in the Outside Cuba exhibition and the Cuba-USA: The First Generation traveling exhibition. He has also been the subject of several solo exhibitions in institutions such as the Pérez Art Museum Miami, the Southeastern Center for Contemporary Art in North Carolina, the Bass Museum of Art in Miami Beach and the Hal Bromm Gallery in New York.
Teresita Fernández has had solo exhibitions at Castello di Rivoli in Italy, the Masataka Hayakawa Gallery in Japan, the Corcoran Gallery of Art in Washington, D.C., Deitch Projects in New York and the Museum of Contemporary Art in Miami. She was also appointed by President Barack Obama to serve on the U.S. Commission of Fine Arts.
Andrés Serrano has won awards from t
A presentation on the Research Guide to Jamaican Art I created for Prof. Soehner's Introduction to Art Librarianship class.
This is the first resource guide on this topic.
Using Omeka And CONTENTdm to Create Online Exhibitions for HVVACCArden Kirkland
A presentation by Sara Pasti, Arden Kirkland, and Susan Shaw at the Northeast Regional Digital Collections Conference in Kingston, NY in September 2017.
Elaine Harrington, Special Collections Librarian, uses case studies to discuss the different types of engagement she has with academic staff and students in relation to Special Collections. Case studies will include show & tell class visits to Special Collections, modules that use specific methodologies for both undergraduates and postgraduates, exhibitions and events.
This presentation was given as part of UCC's Instructional Design TEL Tasters 2017 programme.
This Presentation is prepared for Graduate Students. A presentation consisting of basic information regarding the topic. Students are advised to get more information from recommended books and articles. This presentation is only for students and purely for academic purposes. The pictures/Maps included in the presentation are taken/copied from the internet. The presenter is thankful to them and herewith courtesy is given to all. This presentation is only for academic purposes.
Using Omeka And CONTENTdm to Create Online Exhibitions for HVVACCArden Kirkland
A presentation by Sara Pasti, Arden Kirkland, and Susan Shaw at the Northeast Regional Digital Collections Conference in Kingston, NY in September 2017.
Elaine Harrington, Special Collections Librarian, uses case studies to discuss the different types of engagement she has with academic staff and students in relation to Special Collections. Case studies will include show & tell class visits to Special Collections, modules that use specific methodologies for both undergraduates and postgraduates, exhibitions and events.
This presentation was given as part of UCC's Instructional Design TEL Tasters 2017 programme.
This Presentation is prepared for Graduate Students. A presentation consisting of basic information regarding the topic. Students are advised to get more information from recommended books and articles. This presentation is only for students and purely for academic purposes. The pictures/Maps included in the presentation are taken/copied from the internet. The presenter is thankful to them and herewith courtesy is given to all. This presentation is only for academic purposes.
51bc studies, no. 78, Summer 3A Nation of Artists” .docxblondellchancy
51bc studies, no. 78, Summer 3
“A Nation of Artists”:
Alice R avenhill and the Society for
the Furtherance of British Columbia
Indian Arts and Crafts
L i Ly n n Wa n *
In 1996, Bill Reid sold a bronze sculpture to the Vancouver International Airport Authority for $3 million, making him the highest-paid Canadian artist to that date. An image of this
sculpture, The Spirit of Haida Gwaii, adorned the Canadian twenty-
dollar bill from 2004 until 2012, and the original casting of the sculpture
stands in front of the Canadian Embassy in Washington, DC. Reid’s
journey to this position as a Haida artist and Canadian icon provides
some insight into the often contradictory role of indigenous imagery in
visual representations of Canadian culture and identity. While Reid’s
work was certainly inspired by his ancestral ties, he learned technique
in a jewellery-making course at the Ryerson Institute of Technology in
Toronto, and he learned the fundamentals of Northwest Coast design
from two books, in particular. One of these books is the American
museum director Robert Bruce Inverarity’s Art of the Northwest Coast
Indians, which was published in 1950; the other is Alice Ravenhill’s
A Corner Stone of Canadian Culture: An Outline of the Arts and Crafts of
the Indian Tribes of British Columbia.1
* Research for this article was funded by the Social Sciences and Humanities Research Council
of Canada. Thanks to Shirley Tillotson and Richard Mackie for invaluable guidance and
editorial advice. And to Rebecca Moy-Behre, who taught me arts and crafts – not as an idea
but as a way of life.
1 Alice Ravenhill, A Corner Stone of Canadian Culture: An Outline of the Arts and Crafts of the
Indian Tribes of British Columbia (Victoria: British Columbia Provincial Museum, 1944).
In Tippett’s interpretation, Reid was consistently ambiguous about his identity for the first
twenty years of his career. His decision to promote himself as an “all Indian” artist did not
come about until the 1970s, after he received a Canada Council fellowship. While Reid had
Haida ancestry and ties to the Haida village of Skidegate, and his great-great-uncle, Charles
Edenshaw, as well as his grandfather, Charles Gladstone, were both Haida artists, his mother
was raised to “become more white and less Haida,” and his father was a “white man” in the
frontier of northern British Columbia in the early twentieth century. See Maria Tippett, Bill
Reid: The Making of An Indian (Toronto: Random House, 2003), 31, 25, 67.
bc studies52
The story of Alice Ravenhill, who spearheaded an arts and crafts
revival in British Columbia in the 1930s, is an important one to tell, and
not only because of her influence on Reid’s career. As Ronald Hawker
has shown, Ravenhill’s work was incorporated into the Indian education
system in both residential and day schools throughout the province.2
By the 1940s, the notion of indigenous peoples being what Ravenhill
described ...
51bc studies, no. 78, Summer 3A Nation of Artists” .docxfredharris32
51bc studies, no. 78, Summer 3
“A Nation of Artists”:
Alice R avenhill and the Society for
the Furtherance of British Columbia
Indian Arts and Crafts
L i Ly n n Wa n *
In 1996, Bill Reid sold a bronze sculpture to the Vancouver International Airport Authority for $3 million, making him the highest-paid Canadian artist to that date. An image of this
sculpture, The Spirit of Haida Gwaii, adorned the Canadian twenty-
dollar bill from 2004 until 2012, and the original casting of the sculpture
stands in front of the Canadian Embassy in Washington, DC. Reid’s
journey to this position as a Haida artist and Canadian icon provides
some insight into the often contradictory role of indigenous imagery in
visual representations of Canadian culture and identity. While Reid’s
work was certainly inspired by his ancestral ties, he learned technique
in a jewellery-making course at the Ryerson Institute of Technology in
Toronto, and he learned the fundamentals of Northwest Coast design
from two books, in particular. One of these books is the American
museum director Robert Bruce Inverarity’s Art of the Northwest Coast
Indians, which was published in 1950; the other is Alice Ravenhill’s
A Corner Stone of Canadian Culture: An Outline of the Arts and Crafts of
the Indian Tribes of British Columbia.1
* Research for this article was funded by the Social Sciences and Humanities Research Council
of Canada. Thanks to Shirley Tillotson and Richard Mackie for invaluable guidance and
editorial advice. And to Rebecca Moy-Behre, who taught me arts and crafts – not as an idea
but as a way of life.
1 Alice Ravenhill, A Corner Stone of Canadian Culture: An Outline of the Arts and Crafts of the
Indian Tribes of British Columbia (Victoria: British Columbia Provincial Museum, 1944).
In Tippett’s interpretation, Reid was consistently ambiguous about his identity for the first
twenty years of his career. His decision to promote himself as an “all Indian” artist did not
come about until the 1970s, after he received a Canada Council fellowship. While Reid had
Haida ancestry and ties to the Haida village of Skidegate, and his great-great-uncle, Charles
Edenshaw, as well as his grandfather, Charles Gladstone, were both Haida artists, his mother
was raised to “become more white and less Haida,” and his father was a “white man” in the
frontier of northern British Columbia in the early twentieth century. See Maria Tippett, Bill
Reid: The Making of An Indian (Toronto: Random House, 2003), 31, 25, 67.
bc studies52
The story of Alice Ravenhill, who spearheaded an arts and crafts
revival in British Columbia in the 1930s, is an important one to tell, and
not only because of her influence on Reid’s career. As Ronald Hawker
has shown, Ravenhill’s work was incorporated into the Indian education
system in both residential and day schools throughout the province.2
By the 1940s, the notion of indigenous peoples being what Ravenhill
described .
2. HISTORY
• Aboriginal peoples were producing art in Canada for thousands of years prior
to the arrival of European settler colonists and the eventual establishment of
Canada as a nation state.
• Like the people that produced them, indigenous art traditions spanned
territories that extended across national boundaries between Canada and the
U.S.A.
• One thing that distinguishes Indigenous art from European traditions is a
focus on art that tends to be portable and made for the body rather than for
architecture.
3. HISTORY
• Many of the artworks preserved in museum collections date from the period
after European contact and show evidence of the creative adoption and
adaptation of European trade goods such as metal and glass beads.
• The distinct Métis cultures that have arisen from inter cultural relationships
with Europeans have also contributed new culturally hybrid art forms.
• Currently there are many indigenous artists practicing in all media in Canada.
4. DIFFERENT GROUPS
• Indigenous art traditions are organized by art historians according to
cultural, linguistic or regional groups.
• The most common regional distinctions being: Northwest
Coast, Plateau, Plains, Eastern Woodlands, Sub-Arctic, and Arctic.
• Art traditions vary enormously amongst and within these diverse groups.
5. APRIL WHITE
• Born in BC
• Aprils artworks show aboriginal culture and express nature
6. CORRINE HUNT
• Born in Alert Bay British Columbia
• Known for the Vancouver 2010 Olympic medal design
• Her work expresses her culture and her province
7. DEAN HERON
• Born in Teslin, Yukon
• Inspiration from events in his own life
