276543

Mark the Spot: Mediation as Medium


Visit this unique exhibition in the Canada Council’s Âjagemô Space and meet three leading artists as they create new works.

Each artist, selected by curator Wayne Baerwaldt, brings different experiences, approaches and practices, and all are skilled at engaging with the public through their art. Join painter Michael Morris (Vancouver/Victoria), performance artist Thierry Marceau (Montreal) and multi-media Métis artist Katherine Boyer (Winnipeg) as they each make Âjagemô their studio through a series of week-long residencies. Visit the website for more details on the exhibition, residencies and the many public activities. Organized by the Canada Council for the Arts as part of its 60th anniversary celebrations.

On view from September 18 – January 2, 2018
Âjagemô Space
Canada Council for the Arts
150 Elgin Street
Ottawa
Free admission

Michael Morris
The Letter Paintings, and Other Concerns
Residency and public program: September 18-23, 10 am – 5 pm
Artist tour: Friday, September 22 at noon
Exhibition: September 18 – October 22

This critically-acclaimed painter and winner of a 2011 Governor General’s Award in Visual and Media Arts will produce watercolour sketches for Ottawa Letter, a large-scale painting to be produced in 2018.

Thierry Marceau
The Great One’s Back
Residency and public program: October 30 – November 4, 10 am – 5 pm
Artist tour: Friday, November 3 at noon
Exhibition: October 30 – November 26

This performance artist will focus on his latest installation, comprised of a video re-creation of scenes from Wayne Gretzky’s wedding. Each day, Marceau will transform himself into a version of the hockey icon for photo opportunities and discussion with visitors.

Katherine Boyer
To Bead is To Visit
Residency and public program: December 7-14, 10 am – 5 pm
Artist tour: Wednesday, December 13 at noon
Exhibition: December 7 – January 2, 2018

This emerging artist will develop a work in the traditional style of Métis beading that will be created as the public joins her to bead, drink tea and explore the exhibition.

 

276447

Calling All Curators!


The Art Bank and the Office of the Lieutenant Governor of Ontario are seeking proposals from individuals to curate an exhibition of works from the Art Bank collection.

The exhibition will be on the theme of the United Nations Sustainable Development Goals and will be hosted in the Lieutenant Governor’s Suite in Toronto, from March 2018 to February 2019.

 

Budget: $5000 (curatorial fee) and $6000 (exhibition fees)

How to Apply: Send proposal to Rebecca Huxtable, see info below.

Deadline for submissions: Tuesday, October 10, 2017 (3 pm EST).

For more information, please click on the request for proposals.

Please share this information throughout your networks.

CONTACT:
Rebecca Huxtable
Art Consultant
Canada Council Art Bank

 

 

276391

Celebrating 30 years of Inuit art: The Inuit Art Quarterly highlights works from the Art Bank collection


For three decades, the Inuit Art Quarterly has been introducing readers around the globe to the brightest and most promising artists the Inuit art world has to offer. As the only magazine devoted exclusively to Inuit and circumpolar Indigenous arts, it has been our great pleasure to share the beauty and vitality of Inuit cultural production both in print and online over the past 30 years. To mark this significant milestone, we have partnered with the Canada Council Art Bank to highlight a selection of works in their collection.

The Art Bank is the single largest collection of contemporary Canadian art, with more than 17,000 works including 600 works by more than 175 Inuit artists. Since its founding in 1972, the Art Bank has regularly acquired the work of Inuit artists and now counts some of the most prolific and celebrated artists, both historic and contemporary, amongst its collection including Kenojuak Ashevak, CC, ON, RCA (1927–2013), Pudlo Pudlat (1916–1992), Annie Pootoogook (1969–2016), Oviloo Tunnillie (1949–2014) and Joe Talirunili (ca. 1893–1976) among many others.

For this collection we have pulled together a small selection of pieces by artists working across the Arctic in numerous media and techniques to offer an introductory look at the breadth and depth of Inuit artistic practice. From our Fall 2017 cover artist, Qamani’tuaq (Baker Lake), NU-based Jessie Oonark, OC, RCA (1906–1985), we selected Kiviuk and the Grizzly (1981), a late linocut and stencil print that renders multiple narrative scenes in striking and delicate detail.

Jessie Oonark, Kiviuk and the Grizzly (1981), stencil

Similar narrative sensibilities are visible in graphics by Alootook Ipellie (1951–2007) Ben-Ho Wins the Biggest Race of his Life, Thumbs Down (2007) and Isaaci Etidloie (1972–2014) Untitled # 30 (Cape Dorset) (1976).

Alootook Ipellie, Ben-Ho Wins the Biggest Race of his Life, Thumbs Down (2007), ink on paper

Isaaci Etidloie, Untitled # 30 (Cape Dorset) (1976-77), felt pen and coloured pencil on paper

Sculpture in stone and bone is also well represented in the Art Bank collection, including works by Tukiki Manomie, Jaco Ishulutaq, Goota Ashoona and John Terriak.

Tukiki Manomie, Untitled/Sans titre (2010), soapstone

Jaco Ishulutaq, Mother and Child (1992), soapstone, ivory and antler

Goota Ashoona, Arctic Woman’s Tale (2009), beluga whale breast bone

John Terriak, Bird Island with Faces (2001), serpentine

Finally, our selection is rounded out by a sampling of textile works and photography by such notable figures as Annie Kilabuk (1932–2005), Irene Tiktalaaq Avaalaaqiaq and Jimmy Manning.

Annie Kilabuk, Walrus Hunting by Rowboat (1990-91), wool

Irene Avaalaaqiaq, Giant Fish Giving Birth to Humans (1992), felt on wool

Jimmy Manning, Gathering / Spring Fishing (1999-2000), photographs

We hope that you enjoy exploring this small sample of the hundreds of works under the care and stewardship of the Art Bank: IAQ Featured Collection. To explore these and other artists in our archive or to subscribe to the Inuit Art Quarterly, visit us at: iaq.inuitartfoundation.org

About the authors: Britt Gallpen and John Geoghegan


Britt Gallpen
is a writer and curator based in Toronto, Canada. Since 2015, she has been the Editor of the Inuit Art Quarterly. Britt has written catalogue texts for The Walter Phillips Gallery at the Banff Centre and grunt gallery, in addition to contributions to numerous publications including Canadian Art, esse art + opinions and Prefix Photo.

John Geoghegan is the Assistant Editor and Circulation Manager of the Inuit Art Quarterly. He has worked in collection management at several public museums and galleries including the Justina M. Barnicke Gallery and the city of Hamilton. Most recently, John contributed catalogue entries to the publication A Story of Canadian Art: As Told by the Hart House Art Collection.

Additional research assistance was provided by Monica Philpott, Editorial Assistant for the Inuit Art Quarterly.

The Inuit Art Quarterly is published by the Inuit Art Foundation. Established in 1987, the Inuit Art Foundation is a not-for-profit charitable organization that provides support to Canada’s Inuit arts communities and is the sole national body mandated to promote Inuit artists and art within Canada and internationally.

276236

Artist Spotlight: Jimmy Manning (b. 1951)


Place: Born in Kimmirut; raised and lives in Kinngait (Cape Dorset), Nunavut

About the artist: Jimmy Manning is a self-taught Inuk photographer and an integral member of the Cape Dorset arts community. In the early 1970s he worked as a carving buyer with Kinngait Co-operative (formerly West Baffin Eskimo Co-op). He began to work with local artists and managed the printmaking studio soon after. Today he continues to act as an art-dealer, interpreter and translator for Inuit artists, while dedicating time and energy to his own photography practice. He manages the Kinngait Co-op store and is President of the Inuit Art Foundation.


Jimmy Manning, Gathering / Spring Fishing (1999-2000), photographs

About the artwork: Inspired by his grandfather, photographer Peter Pitseolak, Manning’s practice focuses on Arctic life, community and landscape. With both a narrative and documentary quality, his photos act as cultural records, like in this diptych of people gathering with snowmobiles and fishing gear. Through his lens, he captures the essence of contemporary Northern life.

Rent this artwork by Jimmy Manning for $240 per year.

Follow our Canada Scene Blog

 

276260

Artist Spotlight: Timootie Pitsiulak (1967-2016)


Place: Born in Kimmirut, Nunavut; based in Cape Dorset for most of his life

About the artist: Timootie (Tim) Pitsiulak was one of Canada’s most sought-after contemporary Inuit artists. Best known for his drawings, he was also a jewellery-maker, sculptor, lithographer and photographer. Pitsiulak pushed the boundaries of traditional subject matter. An avid hunter, he was influenced by the land, wildlife, and Inuit mythology, along with every day-life in the North and technology’s impact on the land and its people. His worked inspired and reshaped the narrative of contemporary Northern life.


Timootie Pitsiulak, Loadmaster (2007), coloured pencil, ink on paper

About the artwork: Loadmaster is a drawing of Cape Dorset’s newest garbage truck, which was a long-awaited replacement for a very old one. The arrival of the new truck was much anticipated and celebrated by the community. This particular work marked a new direction for Pitsiulak, who had only just begun expanding his drawings to large-scale surfaces.

Rent artwork by Timootie Pitsiulak from $360 – $480 per year.

Follow our Canada Scene Blog

 

276254

Artist Spotlight: Annie Pootoogook (1969 – 2016)


Place: Kinngait (Cape Dorset), Nunavut and Ottawa

About the artist: Annie Pootoogook was an internationally recognized, contemporary Inuit artist, whose rich depictions of everyday life in the North challenged expectations of Inuit art and culture. Her drawings and prints focused on mundane objects and interior spaces, as well as touched on complex issues of alcoholism, suicide, and domestic violence. Thoughtful, satirical, and bold, these presentations of Northern life brought new cultural understanding and shifted contemporary Inuit art into the mainstream. Pootoogook won the Sobey Art Award in 2006 and leaves a legacy of transforming the canon of contemporary Inuit art.


Annie Pootoogook, Brief Case (2005), lithograph

About the artwork: A case study of briefs, or a joke on those who carry briefcases? Known for her wit and use of the mundane, this lithograph of men’s underwear bridges cultural divides through common objects. In calming pastel colours, these briefs playfully destabilize expectations of Inuit people and their clothing, as well as masculinity.

Rent artwork by Annie Pootoogook from $120 – $360 per year.

Follow our Canada Scene Blog

276241

Artist Spotlight: Doug Smarch (b. 1967)


Place: Born in Whitehorse; raised in Teslin, Yukon, where he now resides

About the artist: Doug Smarch is a conceptual artist who works in sculpture and animation. Raised in a traditional lifestyle of the Tlingit Nation, he began carving wood and bone at a young age. Encouraged to adapt to live in “both worlds”, he studied Fine Art in California during the early 2000s. His art practice champions cultural adaptation, combining the traditions of Tlingit culture, craft, and storytelling, with contemporary technologies and fine art mediums.


Doug SmarchHomage to Chamber Maid (2002), fibre work made of pheasant feathers, cotton, abalone buttons

About the artwork: Made of cotton, abalone (shell), and dismantled feather dusters, this robe brings into question the commodification of traditional objects and practices. Simultaneously, this piece pays tribute to Native women who support their families through hard work and sacrifice, particularly Smarch’s mother. With a poor residential school education, she worked hard jobs, devoted her life to raising her five children, and later returned to school to become a social worker.

Rent this artwork by Doug Smarch for $960 per year.

Follow our Canada Scene Blog

 

276247

Artist Spotlight: Mary Barnaby (1932-2011)


Place: Born in Mayo, Yukon; resided in Radilih Koe (Fort Good Hope), Northwest Territories

About the artist: Elder and artist, Mary Barnaby was a meticulous craftsperson and teacher. Informed by her Dene heritage, she was a master sewer, beader, and moose hide tanner. Raised on the land, she spent two months in the Aklavik residential school, returning soon after to traditional life. Known for her pride in tradition, spirituality, and work ethic, as well as her patient and empowering style of teaching, she taught her craft to next generations, independently and through Aurora College and the Dechinta Centre. Some of her children continue her craft legacy today.


Mary Barnaby, Baby Strap (2004), cotton, wool, embroidery

About the artwork: Specialized in the creation of clothing and utility, Barnaby made this cotton, wool, and embroidered baby strap has floral designs, symbolic of the cultural heritage of the Dene Nation. This strap was created to support a baby on a mother’s hip, by slinging the strap under the child’s seat and securing it across the mother’s shoulder. These straps are still used today.

Rent this artwork by Mary Barnaby for $240 per year.

Follow our Canada Scene Blog

 

276217

Artist Spotlight: Sonny Assu (b. 1975)


Place: Raised in North Delta; currently resides on unceded Liǥwildaʼx̱w territory (Campbell River, BC)

About the artist: Sonny Assu is a multidisciplinary artist whose work is informed by his Kwakwaka’wakw heritage and suburban Vancouver upbringing. His contemporary art practice blends Western and First Nations cultures in humorous and ironic ways, and works to expose the consequences of colonization. Assu frequently uses commercial symbols and pop culture icons as tools to capture his audience. He delivers a message through these familiar symbols that subverts colonial narratives to the point of absurdity, and destabilizes misconceptions of Indigenous peoples.


Sonny Assu, Selective History (2012), inkjet on paper

About the artwork: Inspired by WWI, WWII, and Communist era propaganda, this poster features oppressive language used by Canada’s Department of Indian Affairs. It is an assimilation manifesto, so shocking that is absurd to contemporary audiences. This institutionalized language pulled from historical documents, has informed years of stereotyping, ignorance, and bigotry towards Indigenous Canadians.

Rent artwork by Sonny Assu for $360 per year.

Follow our Canada Scene Blog

 

276212

Artist Spotlight: Adad Hannah (b. 1971)


Place: Born in New York with a childhood spent between Israel and England; he now works between Montreal and Vancouver

About the artist: Adad Hannah is a multi-media artist, recognized for his clever and dramatic tableaux vivants. Using photographic and cinematic techniques he stages and records scenes, often inspired by famous artworks or historical moments. His videos pose as photographs with subjects only moving as necessary, which is both amusing and uncomfortable for audiences. These act as a tool for historical mediation and provide a new lens for confronting ideas and narratives. In 2009, Hannah won the Canada Council’s Victor Martyn Lynch-Staunton Award.


Adad Hannah, Museum Security (2010), photograph

About the artwork: This photograph was part of Traces, an installation produced for Toronto’s 2007 Nuit Blanche. In the city’s oldest jazz bar the artist staged possible histories. Weeks later he installed his videos and photographs in the bar to create a temporal shift, and to explore the curious spaces between video, photography, and performance.

Rent this artwork by Adad Hannah for $480 per year.

Follow our Canada Scene Blog

 

Subscribe to the Art Bank Bulletin and stay in touch

Subscribe

back to top

Please Rotate Your Device

This site is best experienced in portrait