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wakeup-and-learnsomething

morninggggstar

Hey! Who made this handy dandy thing?

#cultural appropriation

idkwtfttyl

Saw this in town not too long ago, and forgot I took a picture.

No one has taken it down yet. XD

allthecanadianpolitics

Nova Scotia, Canada.

film based on a true story, of Australian aboriginal singers the sapphires.

#the sapphires

#tar sands #enviroment #oil #canada

Ron Noganosh is an Ojibwe artist, born and raised on reserves near Parry Sound, Ontario. his work mixes sly, irreverent humour with a deep concern for the complex problems shared by many communities around the world. He addresses many of these issues – environment, poverty, culture, language and identity - in the context of present-day First Nations communities. He creates sculptures using found objects, contemporary garbage comments on ecology and hierarchy. He says “If it is natural, it feels good” “it’s like the thing is still living the sculpture gives it another life and I use it in a way that’s respectful. In a sense, that helps me spiritually.”

#ndnrt #ron noganosh

Keesic Douglas is an Ojibway artist from the Mnjikaning First Nation in central Ontario, Canada. He specializes in the mediums of photography and video. The artist navigates through the constructed image of “Indian” with a mixed media installation that includes documentation of performing. He went on a canoe voyage up the Humber River to the Hudson Bay Company (HBC) store. Upon destination Douglas attempts to trade the famous HBC blanket for the return of his great grandfather’s pelts. His act parodies the fur trade in Canada, a history that led to the exploration of the country and the formation of the oldest Canadian company but at the destruction and expense of First Nations cultures.

http://keesic.com/gallery/

#ndnrt #Keesic Douglas

uiscecapaill

Interesting to see the National Post picking up on things, “Six emerging Aboriginal artists in Canada who are inspiring change.”

almostdone57-blog

examples of some of the work mentioned in the article

https://www.youtube.com/watch?v=0j1RvWFQGT4 https://www.youtube.com/watch?v=WgDw20p3N8c https://www.youtube.com/watch?v=ifDwJtEeMVw

#ndnrt

brief statements by artists about there work.

Lawrence Paul Yuxweluptun, Julie Buffalohead, Nicholas Galanin, Shan Goshorn, and Meryl McMaster

#ndnrt

‘Terrance Houle is an interdisciplinary media artist and member of the blood tribe. He has traveled across North America participating in Powwow dancing and his native ceremonies. he works in a variety of mediums; performance, photography, video/film, music and painting. He also uses tools of mass dissemination such as billboards and buses.’

‘Many of Houle’s performances, it’s an absurd spectacle—a painfully deliberate cliché, plied with a knowing wink. To say that Houle’s work is centered on persistent stereotypes of Aboriginal representation goes beyond the obvious. His Calgary apartment is littered with every manner of Indian kitsch, including a Hiawatha doll on the mantle and a collection of steamy, trashy Western romance novels. In his Urban Indian series of photographs (2004) with Jarusha Brown, to pick just one example, Houle meanders through a quotidian routine—breakfast at a diner, grocery shopping, mundane office-drone chores in a cubicle—wearing full grassdance powwow regalia, headdress and all.

With his gleeful send-ups of rote Aboriginal representation—however mild, or hilarious—Houle joins generations of First Nations contemporary artists for whom the simplistic Indian identities fashioned by post-colonialism are a favorite target.

While Houle sketches colonialism’s master narratives—cowboys and Indians, modernity, and everything in between—in broad, bombastic strokes, his art is always, almost painfully, about himself. At once fearless, charismatic, tender and intimate—and, we mustn’t forget, uproariously funny—Houle’s work centers not on the desecrated, unspecific, victimized Other, but on the artist’s flabby, beer-drinking, pizza-eating single-dad Self.’

“We were the Native family,” he says. “Our identity was constantly being pointed out to us. But my folks always used humour to cushion the blow. We were taught at an early age not to put the barrier up, but to try to teach people who we are. I think that’s why, at an early age, I started getting into art.”

http://canadianart.ca/features/2011/09/15/terrance_houle/

#ndnrt #Terrance Houle

Hundreds have taken part in rallies in Western Australia, protesting the closure of remote indigenous communities in the state, according to local and social media.

aaron2point0

Rosanna Deerchild. I shot this prior to the RCMP revising the number MMIW from 600 to 1186

#ndnrt

online exhibition of ROM

#ndnrt #ROM

‘Steven Deo, is a conceptual mixed-media artist of Creek-Euchee heritage. He transforms mundane objects into art, along the way appending layers of meaning, sometimes political sometimes playful. Deo finds beauty in materials that others think forgettable. Poverty forced his family to be creative; he recalls his grandparents turning tuna cans into drums and boot leather into door hinges years ago.’

#ndnrt #steven deo

‘Wally Dion lives and works as an artist in Saskatoon, he is a member of Yellow Quill First Nation (Salteaux). His work has typically consisted of large scale painted portraiture sometimes working with themes including social-realism and First Nations class struggles in modern Canadian life, specifically in Saskatchewan. More recent work has involved the use of recycled computer circuit boards for large sculptural pieces.‘‘Dion’s Red Worker series is comprised of several monumental portraits depicting Aboriginal people in the workforce. These larger-than-life portraits are composed of multiple panels, a technique that draws attention to society’s imposition of grid-like systems or categorizations, such as the pattern of land colonization.It is from this series that Dion’s labour intensive sculptural constructions evolved. Recycling first world waste, he has created Starblankets and Shields out of computer circuitry boards using patterns that call to mind traditional quilts and blankets. In particular, the iconic star patterns that appear reference plains First Nations designs. Playing with our concept of time and tradition, they stimulate discussion of how traditions are valued and interpreted within modern society. In their use of material and symbolism they allude to systems of connections and communication. The modern circuitry offers an updated symbol of longstanding social networks, while at the same time talking about empowerment through technology within First Nations communities.’

http://wallydion.com

#ndnrt #wally dion

'John Marston is a Coast Salish (Chemanus) carver. Both his parent were carvers, he started carving at the age of eight, he refined his art as an adult while working in Thunderbird Park at the RBCM.'

'he employs a "shifting formline" technique, in which the intersection of lines is accentuated by the use of three-dimensional space. Subtly creative, he works within the traditional style while constantly exploring new styles and techniques that further innovate the Coast Salish formline and invoke a contemporary approach to visual storytelling.'

"I am inspired by the lives of my Ancestors and the lives of our people today. I am part of an ancient tradition that continues to evoke and grow, this fills my heart with joy."

#john marston #ndnrt

Heid E. Erdrich is an Ojibwe writer of poetry, short stories, and nonfiction. She also edits journals to promote literature from other Native American writers. Much of her career has been devoted to the teaching of writing;

The poem at the beginning by Langston Hughes. He was an American poet, social activist, novelist, playwright, and columnist.He was one of the earliest innovators of the then-new literary art form called jazz poetry.

the poem goes on;

I've known rivers: I've known rivers ancient as the world and older than the flow of human blood in human veins. My soul has grown deep like the rivers. I bathed in the Euphrates when dawns were young. I built my hut near the Congo and it lulled me to sleep. I looked upon the Nile and raised the pyramids above it. I heard the singing of the Mississippi when Abe Lincoln went down to New Orleans, and I've seen its muddy bosom turn all golden in the sunset. I've known rivers: Ancient, dusky rivers. My soul has grown deep like the rivers.

#ndnrt #Heid E. Erdich #langston hughes

'Kent Monkman is a Canadian artist of Cree and Irish ancestry who works with a variety of mediums, including painting, film/video, performance, and installation.''Monkman draws inspiration from the histories depicted in 19th century art, including photography and Romantic painting, colonial portrayals of Aboriginal peoples and cinematic genres such as classic Hollywood westerns. Using these conventions, he constructs new stories through images that take into account missing narratives and perspectives of Aboriginal peoples.''he is celebrated for his spectacular paintings: detailed vistas in the tradition of Canadian landscape artists such as Paul Kane, populated with white “cowboys” and Aboriginal “Indians” engaged in sadomasochistic and homoerotic acts. At the same time, Monkman developed a drag persona named Miss Chief Eagle Testickle, who appeared in the paintings as well as in performances and films.' she is on the back of the horse in the bottom painting..

I remember seeing his show at a few years ago at the AGGV,

http://www.kentmonkman.com/

#ndnrt #kent monkman

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