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Contemporary Art of the Americas
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The contemporary Art of the Americas including the Arctic, Canada, United States of America, Central America, the Caribbean, and South America with emphasis placed on the Indigenous / Aboriginal art of each country as well as art of New Immigrants and cultural Diasporas. Looking at how Artists explore issues of Colonization, Sovereignty, Homeland, Identity, Indigeneity, Immigration, Creolization, Feminism, Urbanization, LGBTQ and Human Rights.
Curated by
mixedbagmag
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7 offers diverse audiences from the many nations across Canada an unparalleled opportunity to appreciate and engage with the work by one of Canada’s most important early artist alliances – the Professional Native Indian Artists Incorporated (PNIAI). This Group of Seven was a ground-breaking cultural and political entity that self-organized to demand recognition as professional, contemporary artists, to challenge old constructs, and to stimulate a new way of thinking about contemporary Aboriginal people, their lives and art. Gathering informally at first in the early 1970s, Jackson Beardy (1944-1984), Eddy Cobiness (1933-1996), Alex Janvier (b. 1935), Norval Morrisseau (1932-2007), Daphne Odjig (b. 1919), Carl Ray (1942-1978) and Joseph Sanchez (b. 1948) formed this influential and historical group. Since their official incorporation in 1974, the PNIAI have often been wryly referred to as the “Indian Group of Seven.” Drawing on both private and public collections the exhibition brings together over 100 works including those featured in formative exhibitions of the Group along with a number of recently uncovered masterworks of the period that have not been publicly accessible for quite some time. Significant works by each member are showcased demonstrating their distinctive styles and experimentations. The selection serves to challenge the myth that PNIAI members participated in a unified “Woodland style,” as well, to substantiate the avant-gardism of the Group. The exhibition seeks to honour their efforts and recognize the contributions of these seven artists to the history of First Nations aesthetic production and to the history of art on Turtle Island. Narratives collected from members of the group and their contemporaries will further inform the exhibition through didactic materials, catalogue text and audiovisual materials. While the exhibit both records and celebrates this history, the exhibition will also investigate this rich legacy and demonstrate how their impact continues to resonate in relation to Aboriginal and non-Aboriginal contemporary art practices. 
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By Kristy Strauss Jeff Thomas is bringing art and history together as Carleton University hosts its upcoming conference entitled Champlain in the Ottawa
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When National Gallery of Canada curators started pulling together work by indigenous artists from around the world for the summer exhibit Sakahan, they discovered surprising connections.
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A visual interview with multi-disciplinary artist and musician Nicholas Galanin.
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Susan Blight Susan Blight is a member of Couchiching First Nation, Anishinaabe, Turtle Clan. A visual artist, filmmaker, and arts educator, Susan's research interests include areas of resis...
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Artist Rebecca Belmore's new Vancouver exhibition showcases her startling work
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A Homespun Web is not your ordinary art show. In a departure from the norm, the show features the work of three contemporary artists — Heather Goodchild, Noelle Hamlyn and Tazeen Qayyum — using... A Homespun Web is not your ordinary art show.
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This is the largest exhibition to date devoted to American artist Thomas Nozkowski and comprises some 60 paintings produced over the past 20 years. Among the finest abstract painters today, he has developed a wide variety of organic and geometric forms. The result is paintings that transgress historical conventions of abstraction, which keep it alive and relevant for the 21st century.
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Author’s Statement
Why did I choose to write about the historical events I selected? The events I wrote about have to do with historical places and locations, and with traditional Anishinaabe legends. The reason I chose them is because the entire Johnny Seven Fires narrative is an extended metaphor for the survival and continuation of Anishinaabe language and culture, and these historical events/locations reinforce themes of life and death, beginnings and endings, and continuance and transformation. These themes are apparent in the re-occurring imagery of sunrise and sunset, Johnny’s casual use of cigarettes and alcohol, his attempted suicide, his ironically life-saving electrocution, his modern carving into the cement pathway at the Petroglyphs, and his spontaneous ability to speak fluent Ojibwa. Even Johnny’s name “Seven Fires” alludes to an apocalyptical Anishinaabe prophecy in which humanity will have to make a choice between a good path or a bad path, between death and destruction or peace and prosperity. Also, Jenny’s telling of the story of Jiyaa-waabooz the ruler of the underworld, re-contextualizes this traditional story as having meaning and value for Johnny, an Anishinaabe youth, and by extension this suggests that all traditional stories can continue to have meaning and value for future generations of Aboriginal Peoples. By setting part of the story at the Petroglyphs, as well as at Nogojiwanan “The Place at the End of the Rapids”, these locations contribute to the themes of continuation and transformation, and reflect the continuation of language and culture. For example, Nogojiwanan (more commonly known as Millennium Park), is in the center of downtown Peterborough, yet this place still continues to be known as Nogojiwanan, and by using this setting it re-affirms this space in the center of the city as an Aboriginal space, and thus deconstructs racist discourses whereby Aboriginal peoples can only spatially or temporally reside in the past or on the periphery. Likewise, by using the Petroglyphs as a setting, this also reflects the continuation of language and culture. For example, the Petroglyphs are housed in a building whose primary purpose is to protect and preserve this historical and cultural site, and by Johnny carving an image into the cement pathway surrounding the Petroglyphs, this is a powerful and symbolic statement that preservation of Aboriginal languages and cultures alone is not enough, and that they must continue to be spoken and practiced.
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Now a new and promising festival will soon add to this mix. This June, the inaugural Asinabka Film and Media Arts Festival promises seven days of events teeming with Indigenous-focused film screenings, visual and media art, gallery crawls, and music. Taking its inspiration from similar gatherings like Toronto’s imagineNATIVE Film + Media Arts Festival and Peterborough’s Ode’min Giizis, Asinabka enjoys support from the local film and Aboriginal communities in Ottawa’s downtown core.
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A new exhibition by artist Jason Baerg opens at the Alternator Centre for Contemporary Art on Oct. 20. Developed during an artist residency in Kelowna, Baerg’s artwork boldly claims new territory for all people of the red, yellow, black and white nations. A resident of Toronto, Jason Baerg’s art has been presented at such institutions as the Walter Philips Gallery in Banff, Art Basel Miami and the Luminato Festival in Toronto, Ontario. Baerg’s exciting work combines traditional painting techniques with new digital extensions. This innovative blending of new and old technologies is also mirrored in his exploration of traditional knowledge in a contemporary context. When asked about his approach Baerg reflects, “My work is grounded in ancient wisdoms but is equally invested in focusing forward, investigating spaces of politics, the media, the environment and other contemporary creative movements such as the visual arts, literature, music, fashion, architecture and industrial design.” Baerg is founding member of the Métis Artist Collective, one of three official officers of the Indigenous Peoples Caucus for the Creative Rights Alliance, a board member for the Aboriginal Curatorial Collective, the National Indigenous Media Arts Coalition and the Independent Media Arts Alliance.
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Born in Sao Paulo, Brazil, Henrique Oliveira's newest installation "Baitogogo" went up last month in Paris at&n...
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My name is Lara Evans. I have a Ph.D. in art history (specializing in contemporary Native American art), and I am an enrolled member of Cherokee Nation. I am tenured faculty in art history and stud...
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Michael Alstad is an artist and independent curator working in installation and digital media with a focus on architectural and public space.
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Ottawa artist Meryl McMaster can steal a show like no one else. Take the group exhibition In The Flesh that recently opened at the Ottawa Art Gallery. Many
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In January 1, 1889, Jack Wilson (or Wovoka), a young Paiute man, had a vision during an eclipse of the sun. Revealed to Wilson was a place where his ancestors were once again engaged in their favourite pastimes, where wild game and abundant food were restored to the lands. He interpreted the vision as the coming of a new age, one where Native and non-Native people would — finally — live in peace. This was the birth of the Ghost Dance. It was, quite possibly, the first pan-Indian movement in the United States. It was forcibly and violently crushed by the government.
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