The Canada Council Art Bank recently acquired seven works by leading Indigenous artists in Canada. This is the first major acquisition by the Art Bank in over two years, and features emerging and established Indigenous artists. The pieces were selected following consultations with members of the artistic community led by the Art Bank staff. The works – and their addition to the Art Bank collection speak to the Council's commitment to Indigenous arts and {Re}conciliation.
Photo by Brandon Clarida.
Barry Ace, "For King and Country," (2015)
Barry Ace, "For King and Country," (2015), Manitoulin, Ont. (M'Chigeeng), currently residing in Ottawa
Barry Ace’s For King and Country (2015) utilizes cultural markers such as porcupine quills, deer hide and glass beads. The piece denounced the policies of the federal Indian Act which denied the vote to Indigenous people, many of whom fought overseas during the First and Second World Wars. To raise public awareness of this issue, For King and Country will be featured in the Canada Council for the Arts’ forthcoming exhibition Punctured Landscape which is on display in Âjagemô at 150 Elgin Street from May 12th to October 2nd, 2016.
Photo by Brandon Clarida.
Sonny Assu, "Selective History," (2012)
Sonny Assu, "Selective History," (2012), Laich-kwil-tach of the Wei Wai Kai First Nation - Cape Mudge, B.C., currently residing in South Surrey, B.C.
Sonny Assu’s archival pigment print on paper Selective History (2012) critiques the use of historically oppressive language by the Canadian government to proliferate the notion of the “Indian Problem.”
Photo by Brandon Clarida.
Jordan Bennett, "Why Are Native Americans," (2012)
Jordan Bennett, "Why Are Native Americans," (2012), Stephenville Crossing, N.L. (Mi'kmaq), currently residing in Kelowna, B.C.
Jordan Bennett’s reproduction of a screen capture of a Canadian Google search engine in acrylic on canvas, Why Are Native Americans (2012) questions the legitimacy of information circulated about the Indigenous people of Canada in the digital age.
Photo by Brandon Clarida.
Dana Claxton, "Headdress," (2016)
Dana Claxton, "Headdress," (2016), Lakota First Nations-Wood Mountain reserve, Sask., currently residing in Vancouver
In Dana Claxton’s Headdress (2016), the Bead acts as a marker of Indigenous identity to be celebrated, but its commodification, reconsidered.
Photo by Brandon Clarida.
Amy Malbeuf, "The Mealy Mountains and Three Artists Fly North," (2013)
Amy Malbeuf, "The Mealy Mountains and Three Artists Fly North," (2013), Rich Lake, Alta. (Métis) currently residing in Kelowna, B.C.
Amy Malbeuf’s The Mealy Mountains and Three Artists Fly North (2013) harness beadwork as a central means of exploring identity. For Malbeuf, the intention is to translate abstract expressionist techniques to bead work.
Photo courtesy of the artist.
Adrian Stimson, "Shaman Exterminator, Playing on the Playa," (2009-10)
Adrian Stimson, "Shaman Exterminator, Playing on the Playa," (2009-10), Sault Ste. Marie, Ont. (Siksika), currently residing in Saskatoon
Adrian Stimson’s series of six digital photographs The Shaman Exterminator Playing on the Playa brings to life the duality between stereotypes and realities of “Indian” identity. The series, originally printed in 2009/10 for an exhibition at the Canadian Cultural Centre in Paris, France, showcases a new, playful side of Stimson’s performance character: The Shaman Exterminator.
With themes ranging from current impressions of Indigenous people as told through Google search algorithms; to the appropriation and re-appropriation of cultural symbols; to military service while denied the right to vote, these works were selected for the timely and critical nature as we collectively move towards reconciliation. We are delighted these pieces will be part of the Art Bank’s collection and made available to Canadians through our rental and outreach programs as well as our website.
Tara Lapointe, Director Outreach and Business Development, Canada Council
Report courtesy of Canada Council.
