Body Wrap series, Ahasiw Maskegon-Iskwew

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@artist-and-model
Body Wrap series, Ahasiw Maskegon-Iskwew
Meryl McMaster: In-Between Worlds (previously posted here)
In-Between Worlds explores the mixing and transforming of bi-cultural identities - Indigenous and Euro-Canadian (Scottish and Cree).
McMaster views her bicultural Indigenous-European heritage as a synergistic strength rather than a struggle between opposing forces. Through working on this series, McMaster transformed the way she views the past, creating a new narrative that comments on her personal heritage and its relation to a larger, shared cultural history that is inextricable from the land. Colourful self-portraits insert the artist’s body into visual spaces that reflect both the inspiration that she felt during her time alone in nature and the sense of being between two worlds. The images depict McMaster posed with evocative sculptures and sculptural garments, which she constructed to serve as talismans that incorporate her bicultural heritage through collage.
This series addresses the idea of liminality, of being betwixt and between cultural identities and histories.
Bird Messengers Performance Teaser, Emilie Monnet & Moe Clark
All Is Moving, Maria Hupfield at Accola Griefen Gallery March 2013
Sonny Assu, Product Assimilation, 2011.
Digital print on paper.
Decolonize Me guest curated by Heather Igloliorte
Sonny Assu, Coming Home, 2014.
For This Land - Jackson 2bears
3-Channel Video Installation
A collaboration Janet Rogers
Documentation is from the Audain Gallery in the Visual Arts Department at the University of Victoria
The “For this Land” series was inspired by Sioux philosopher Vine Deloria jr.—in particular, his 1998 book from which the title of this project is borrowed. What I find compelling is Deloria’s argument about an incommensurability between Western theology and Indigenous spirituality in that the first is rooted in a temporal logic, and latter in a ‘spatial’ philosophy. Deloria says, Indigenous world-views are spatial because they privilege a spiritual relationship to ‘place’ and, therefore, tribal spiritual sensibilities emerge from attention given to the landscape and geographical orientation—as the elders say, we write our stories, our histories on the Land.
Heritage Mythologies - Jackson 2bears
Live Cinema/ Scratch Video Performance
Live at SAW gallery, Ottawa ON. 2010
12min. 10sec.
Materials: 2 Technics 1200 Series Turntables, DJM800 Pioneer Dj Mixer (w/MIDI), Audio 8 DJ Sound Card (N/I), 2 Mac Pro Laptops, Video Projector, Standard 2 Channel Sound System, 2 Specially Encoded Vinyl Records, VJ software developed by the artist in Max MSP Jitter (Cycling 74).
Heritage Mythologies is a Live Cinema/Scratch Video performance artwork that utilizes gesture controlled vinyl-tracking technology in conjunction with specialized software in order to edit, manipulate and ‘scratch’ audio/video media in real-time. Heritage Mythologies premiered as a part of an international artist residency/ exchange project between Canada and Ireland entitled Crossings (curated by Christine Connley). The performance was delivered in two parts; the first ‘episode’ took place at SAW gallery in Ottawa during Aboriginal Awareness Week, and ‘episode 2’ was presented at Catalyst Arts in Belfast.
The artwork incorporates elements of ‘Canadian cultural heritage’ such as video fragments of the famous Heritage Minutes that aired on CBC television in the 1990’s. The work also features a number of remixes incorporating Canada’s national anthem, footage from the Oka Crisis, protests surrounding the 2010 Olympic games, and archival footage of residential schools mashed-up with parliamentary footage of the official Federal government apology in 2008.
Dayna Danger The Outlander C-print (framed) 25.5X22" 2011
Annie Pootoogook
Memory of My Life; Breaking Bottles
2002
Two Worlds, James Luna, Date Unknown.
The Artifact Piece, James Luna, 1987.
Before whatever that Tilda Swinton thing was ...
Half Indian/Half Mexican, James Luna, 1990.
I’ve Been Indigenous My Whole Life: Images of Indigenous Art and Activism
Gregg Deal, a provocative contemporary artist/activist and 15 year resident of the DC metro area, discusses his work, which explores indigenous identity and pop-culture, touching on issues of race relations, historical consideration and stereotype. This is especially true with Deal’s latest performance pieces, The Last American Indian on Earth and REDSKIN. In The Last American Indian on Earth, the artist exploits stereotypes existing in American culture while simultaneously challenging the viewer’s understanding of the Indigenous as both contemporary and relic. REDSKIN, a work that employs acts of micro-aggression (particularly in the way fans of the Washington Football team engage Indigenous people), illustrates the imbalance of equality, authority, and voice within the context of the mascot debate. Within this work, as well as his paintings and murals, Deal advances issues within Indian country such as decolonization, conversations surrounding local and national sports mascots, and cultural appropriation. In his unflinching examination of such heavy subject matter, Deal speaks to these issues with intelligence and sharp wit, remaining keenly aware of his place as an Indigenous man and a contemporary artist. Following his presentation, Deal responds to questions from the audience, further exploring the themes of his art.
Artist and Model, Kent Monkman, 2003
Skeena Reece. “Raven: On the Colonial Fleet”, 2008.
One of the most striking works in the exhibition is the clothing and regalia worn by Reece in her persona as Raven on the Colonial Fleet. It’s comprised of a curvaceous bustier covered in vertical Northwest coast designs and an apron with figures whose outstretched arms are reaching above their heads for AK-47 machine guns. Her traditional button blanket has a surprise on the back: a grenade made out of silver sequins.
Skeena Reece is multi-disciplinary artist based on Vancouver Island and performance work may include, music, spoken word and videography. Founder of the Native Youth Artists Collective, she has worked in Arts Administration since 2005. A self-named ‘Sacred Clown’ influenced by her ancestors she is a storyteller. Her work has extended overseas at the 2010 Sydney Biennale: Festival of Contemporary Art in Australia and at the Bbeyond Gallery in Belfast, Ireland. Performing at community art shows, the main stage or at a cabaret look for her inaugural music cd in Winter 2010.
Erin Konsmo, Our Bodies Are Not Terra Nullius, 2012.