The Canadian North, a rugged landscape often glamorized as a land of adventure and promise, hides a dark history. From the early day’s of the gold rush, when the land was first colonised, to the attempted cultural assimilation of the indigenous peoples through residential schools, the people native to the area are still in a struggle of identity and culture, and the resulting effects such as high suicide rates, poverty and drug abuse,. It is through this lens that I will examine the work of Ted Harrison, a prolific English artist who spent the majority of his life living in the Yukon and painting the contemporary society that he saw around him. There is no doubt that his work was highly intertwined with the indigenous culture, and as such his identity brings up questions regarding the appropriation of native american culture. To that end, this essay will look at the context of his biography, the subject matter of his work, and compare it to contemporary Native American artists in order to clarify the nature of his art.
In conclusion, gender is represented well and often in this extract in order for the audience to understand how difficult it is for Helen Mirren’s character to function well in this world. It is depicted particularly well through the use of camera movement and proximity between
Lawrence Paul Yuxweluptun is a contemporary Indigenous artist from Kamloops British Columbia. (Griffin, 2016) He attended the Emily Carr School of Arts and Design, graduating with an honours degree in painting. (Yuxweluptun, 2016) Yuxweluptun’s paintings often deal with issues such as corporate greed, environmental destruction and colonialism in an abstract contemporary way. He was referred to in the Vancouver Sun as an artist who, “can speak truths many would rather not hear.” (Griffin, 2016) This is exactly what Yuxweluptun is trying to do with his artwork, reveal the brutal truth that is too often swept under the rug. Yuxweluptun believes that the passion he holds for all of the issues he bases his work on was influenced by his parent’s involvement in social activism while he was a child. In an article for Straight he shares: “they were
Unique traditions, language, beliefs and values all comprise Indigenous culture. It is critical that a meaningful appreciation of their culture
Giangrande (1990) often relies on an emotional appeal of individual members of tribes, which show the abuse of indigenous peoples in a white Canadian society. Certainly, Giangrande is a journalist that gets does direct interviews with indigenous peoples , which reveals a pattern of logos in data collecting methodology. However, these interviews are based on “individual accounts” of indigenous rights
Aboriginal art has many inspiring aspects such as the link that it has to the past of Aboriginal people, kinship the dreaming, land and reconciliation. Charlie Colbung is the artist behind a large beautiful acrylic painting exhibited in the Plantagenet community resource centre, in Mount Barker Western Australia. Colbung’s painting is called ‘Past to Present’ and represents the journey to reconciliation of both Indigenous and non-Indigenous people. Full of depth, texture, colour and numerous artistic elements to entice audiences to engage and analyse his lovely art work as well as critically reflect on the art and the meaning behind the painting. Charlie Colbungs painting Past to Present is a beautiful example of Aboriginal art work.
In Marked Women, Unmarked Men, Deborah Tannen discusses the nature of marked women and its consequences. Tannen, a female writer, points out the “marked” aspects of women by first giving an example of three differently clothed women, named No. 1 through 3, in a meeting. She allows readers to visualize the distinct difference between men and women’s appearance. Then she shifts to explaining in depth about the definition of “marked” and how it appears on the daily lives of women. She spends most of her article discussing the conference meeting example and the definition of “marked”. Although Tannen indicates many contradictions surrounding the “marked” female aspects like clothing and surnames, she does not reach to a conclusion. Because the
In representing female subjects, both Pablo Picasso’s oil painting Les Demoiselles d’Avignon (1907) and Édouard Manet’s A Bar at the Folies-Bergère (1882) manipulate the formal techniques of composition and perspective to create new ways of seeing their subject, emulating their contemporary society’s shifting views of women and the individual. Les Demoiselles depicts five naked prostitutes, flaunting their bodies, and some wearing tribal masks. In comparison, A Bar at the Folies-Bergère represents a female, who may also be a prostitute, tending a bar. The depiction of previously ‘hidden’ female subjects alone was an innovation of the perception of the artist, however, the formal treatment in representing these subjects was an important break from tradition.
I have chosen to select the book Orca Chief by Roy Henry Vickers and Robert Budd as an Aboriginal education resource for teaching in a Grade 4 classroom. I located this narrative text in the First Nations Education Steering Committee (FNESC) Authentic First Peoples Resources Guide. I choose this book because of familiarity with one of the authors, Roy Vickers. I have long admired this artists work. I have had the opportunity to visit his gallery in Tofino, B.C. and learn about the authors art and life. His use of vibrant colors was considered out of the box when I grew up. He pushed the boundaries and grabbed people’s attention and for that I admired him. I can easily identify his paintings which the non-artist in me enjoys. He has struggled through hardship and addiction and continues to be valuable member to his community and our country. Despite receiving numerous accolades, for his work, he appears to remain humble and continues on his mission to share and tell stories. Roy Henry Vickers, has a First Nation heritage of Tsimshian, Haida and Heiltsuk giving authenticity to this story and imagery.
Judy Chicago (artist, author, feminist and educator) has a career that now spans five decades. In the late 1960s, her inquiry into the history of women began a result of her desire to expose the truth of women’s experiences, both past and present. She still continues on a crusade to change the perception of women from our history, “Women’s history and women’s art need to become part of our cultural and intellectual heritage.” (Chicago, 2011) Through our history women - their struggles, accomplishments and contribution to history, have been overlooked, downplayed and even completely written out of a male dominated society and culture. In anthropologist Sherry Ortner’s 1974 essay “Is Female to Male as Nature Is to Culture?” she supports this view, writing “…woman is being identified with—or, if you will, seems to be a symbol of—something that every culture devalues,” (Ortner, 1974) Where Mendieta's work primarily came from a striving to belong and an understanding of where she came from, I feel that Chicago's aim was to find a place for all women, past and present in this world, starting with herself in the art world. Chicago did explore her peronal heritage in later works entitled 'Birth Project' and 'Holocaust Project'.
The Groups masterworks have a perseverance and impact that represent some aspect of the Canadian experience. However, it is important to remember that the Groups perspective was that of a white, liberal, nationalist who believes Canada is a vast and empty land, waiting to be occupied. In his lecture, Andrew Hunter emphasizes the importance of challenging the relevancy of the Groups work as well as brought to light the cultures and individuals these painters forgot or excluded from the Canadian image.
Dugan Aguilar went on a photo journey around California, acquiring photographs of his community, his family. Agular hopes to bring to attention that, “Natives are alive and well” (Goudi’ni Gallery) in his exhibition, She Sang Me A Good Luck Song: The California Indian Photographs. Twenty-eight photographs hang on the walls inside the Goudi’ni Gallery located in the Behavioral Science building at Humboldt State University.
We see two visual media icons Wonder Woman (a superhero illustrated by DC Comics) and a Stormtrooper (known for being a soldier from the movie Star Wars). The figure of Wonder Woman not conforming to the skewed comic book proportion of a 2” waist but having a normal realistic figure. Having a pale background giving it a pop 60’s decade vibe contrasting the harsh pure colors of the figure. This piece has a very obvious and beautiful message supporting the feminist movement
The men in both works are expected to give moral support their families at all times. The presence of male gender would have solved many challenges in the families. The roles of men implied in the two pieces of art since they do not feature directly in the circumstances that surround the women. Despite the distance that the men give the women,
These two women are the central focus in this picture and you can see their emotions from their expressions and posture as captures in this picture.