Weekly Newsletter February 4, 2013

Art News and Events (5)

Peter Morin's Ceremony Experiments 1 through 8, Urban Shaman Gallery

Peter Morin’s Ceremony Experiments 1 through 8, Urban Shaman Gallery

Calls for Artists, Curators, and Writers (11)

Employment (8)

Exhibitions (6)

Learn About the Board

Spotlight: A New Day, A New Director, by Ryan Rice



Transmissions: Sharing Indigenous Knowledge and Histories in the Digital Era

An art and curatorial studies symposium at Concordia University, Feb 28 – March 2, 2013, Montreal QC

In collaboration with the ACC/CCA and Sherry Farrell Racette’s Aboriginal Art History Project, Concordia’s curatorial studies lab CEREV presents a three-day symposium on contemporary Indigenous film, media arts and exhibitionary practice featuring over 20 Canadian artists, filmmakers, scholars, and curators.

Transmissions: Sharing Indigenous Knowledge and Histories in the Digital Era is a three-day collaborative event including workshops, a film screening, an interactive art installation and a public symposium. Transmissions will explore the interface of Indigenous knowledge and oral history with digital technologies, experimental museology, and new communicative forms in twenty-first century exhibition and artistic practice. The symposium provides an opportunity for prominent academics, curators and museum professionals to discuss their recent research in the fields of Indigenous exhibition and curatorial practice, particularly as it relates to the experimental intersections of museum work, art, and technology, and to enter into dialogue with Indigenous artists and arts professionals who also employ new media and digital technologies in their artistic practice.

Through workshops, panel presentations and roundtable discussions, Concordia students and faculty will join the Canadian Aboriginal creative and intellectual community in a dialogue on sharing Indigenous knowledge and histories in the digital era.

Alethea Arnaquq-Baril, Filmmaker, Iqaluit
Jason Baerg, Director, Aboriginal Curatorial Collective
Scott Benesiinaabandan, Obx Lab Research Associate, CU artist-in-residence, Montreal
Jordan Bennett, Indigenous Artist in Residence at the University of Alberta, Edmonton
Dayna Danger, artist and Research Assistant, the Aboriginal Art History Project
Skawennati Fragnito, Co-Director, Aboriginal Territories in Cyberspace, Montreal
Jason Lewis, Associate Professor of Computational Arts, Montreal
Steven Loft, curator and current Trudeau Fellow, Toronto
Tricia Logan, Curator: Indigenous Content, Canadian Human Rights Museum, Winnipeg
Cathy Mattes, curator, professor and phd student, University of Manitoba
Julie Nagam, Ass. Prof. Aboriginal Visual Culture, OCADU and Past ACC Board Member, Toronto
Ruth Phillips, Cultural Mediations, Carleton University, Ottawa
Sherry Farrell Racette, University of Manitoba, Winnipeg, ACC Board Member
Ryan Rice, Chief Curator, Museum of Contemporary Native Arts, Sante Fe
*With panel moderation by Concordia Faculty and other presenters TBA

More details to follow – for registration information please contact us attransmissionsconcordia@gmail.com. More information to follow. Registration is free but space is very limited.

These events are a production of Concordia’s CEREV lab, organized by CEREV affiliate and Department of Art History faculty member Heather Igloliorte, and generously sponsored by the Department of Art History, the Faculty of Fine Arts, CEREV, and the Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art. It is produced in collaboration with the Aboriginal Curatorial Collective and the Aboriginal Art History Project. Facebook event page to follow.



Launch of HB Magazine

Wednesday, February 6 at 5 PM
At Formats art bookstore
2, Sainte-Catherine Est, space 302

ARPRIM, articule, AXENEO7, le Centre CLARK, Joyce Yahouda Gallery and SAW Gallery are proud to announce the launch of HB magazine, an ambitious collaborative project focusing on the dissemination and promotion of drawing practices.

HB is a magazine, a gallery on paper, a platform-a dynamic space dedicated to contemporary drawing. Our intention is to showcase the work of key arttsts who have left a mark on the art world and who continue to shape it ; the work of young artists whose practices show promise, and impress ; the work of individuals who draw in private ; the work of artists who have not yet had a chance to exhibit their drawings ; as well as the work of more marginalised artists. Structured so that each page threads together a set of visual sequences, HB is a space for exchange in which images take precedence over words. With little text and many drawings, each issue of HB follows it’s own intuitions, themes or techniques.

The first issue, available in February, offers a selection of works by : Shuvinai Ashoona, Elmyna Bouchard, Josée Dubeau, Patrice Duhamel, Michelle Furlong, Kim Kielhofner, Martin Lord, François Morelli, Adrian Norvid, Marigold Santos, Matt Shane, Winnie Truong and Balint Zsako.

We hope you will join us in celebrating the launch of this first issue.

Follow us : www.revue-hb.org

CALLS for Artists, Curators and Writers


Accepting Exhibition Proposals from artists or curators for the Spring and Fall  Museum of New 

PRICING – Please contact us to discuss rates and terms

EMAIL short proposals with concept and/or JPEGs to info@museumofnew.com

Intern Position Is now available to run the museum’s daily activities.
Apply to info@museumofnew.com


National Gallery of Canada – seeking used blankets to create an artwork

Blanket Stories

You are invited to give a wool or natural fiber blanket and share your story with artist Marie Watt in an ambitious installation called Blanket Stories: Seven Generations, Adawe, and Hearth.

The blankets will be folded and stacked to create a welcoming pole as part of the Gallery summer 2013 exhibition . They will be arranged into seven columns, reflecting the Indigenous teaching of seven generations. The installation will be the largest community collaboration by the artist and her tallest sculpture to date.

Trade a blanket for a silkscreen by the artist

In exchange of your blanket and to commemorate the event, you will receive a small silkscreen print signed by the artist as a gesture of her appreciation.

Blankets: bearing witness to important life events

The work of Marie Watt (Seneca) is centred around the community, particularly in her use of wool blankets. This installation will highlight the rich history of commerce and trade in Ottawa. The word “Ottawa” comes from the Algonquian word adawe, which means “to trade.” Watt is interested in the way blankets and humble pieces of cloth are often markers for memories or stories. Blankets also have a very personal meaning for her: in the Seneca community, as in other Indigenous groups, blankets are given to honour those who are witnesses to important life events.

About Marie Watt

Born in Seattle, Washington, in 1967, Marie Watt (Seneca) has produced lithographs and sculptures dealing with contemporary Native American topics, using a variety of materials, including fabric, alabaster, slate and corn husks. Her works can be found in both private and public collections, including those of the National Gallery of Canada and the Smithsonian National Museum of the American Indian, in Washington, D.C.

Collection point
You may drop off your blanket at the cloakroom of the National Gallery of Canada, Ottawa (map) and share your blanket’s story in writing on a tag provided on site. Please note that blankets will not be returned. Deadline is 18 February.

If mailing your blanket, write about your blanket on this tag and include it in your package. Our address is:

Blanket Stories
National Gallery of Canada
380 Sussex Drive, Ottawa ON K1N 9N4

Please call Kate Beresford, Exhibitions Assistant, at 613-998-4092




Call for Artists: Markham Engages in Public Art: Participate!


The Varley Art Gallery of Markham is seeking artists interested in participating in a collaborative public art project under the direction of artist and mentor Katharine Harvey.
Location of Public Art Project:
CN Bridge at Henderson Avenue and Proctor Avenue, Thornhill, Markham.Work Location:
Varley Art Gallery of MarkhamProject Schedule:
One day per week from February to June 2013


The Varley Art Gallery of Markham in collaboration with the Public Realm and Public Art Committees of Markham.

Each artist will receive a $1000 honorarium and all production costs are covered through the project budget.


Professional artists residing in York Region who wish to further develop their painting skills and gain experience in public and community art initiatives.

York Region area professional artists are invited to participate in a public art project led by mentor Katharine Harvey. This is an opportunity for professional development and to gain experience working within a collaborative environment.

Under the leadership of Katharine Harvey (www.katharineharvey.com), artists will work collectively to develop, and realize an outdoor public work in the form of a series of panels for the retaining walls supporting the CN Bridge at Henderson Avenue in Thornhill. Emphasis will be placed on collaboration with peers to develop and realize a site specific and cohesive project.

Submissions should include Curriculum Vitae, a statement of interest and five to ten images of recent work formatted as Jpegs. Do not send original material.

Submission deadline: Wednesday, February 6, 2013

Send submissions to: ssaad@markham.ca (please enter “Henderson Avenue Project” in the subject line).

Or mail to: The Varley Art Gallery of Markham

Attention: Sandy Saad, Education Coordinator
216 Main Street Unionville,
Markham, ON L3R 2H1





Call for Submissions: Aboriginal Art Centre’s Aboriginal Art Acquisition Program


Please see attached documents for information about the Aboriginal Art Centre’s Aboriginal Art Acquisition Program.


Call for Submissions AANDC Aboriginal Art Centre.pdf

Demande de soumissions Le Centre d’art autochtone (AANDC).pdf



Deadline: March 1, 2013 






Options for Homes (www.optionsforhomes.ca), through their public art consultant, is holding a Two-Stage Competition to select an Artist or Artist Team to develop a permanent public artwork as part of their new condominium community, Cranbrooke Village, located at the corner of Bathurst Street and Saranac Boulevard in Toronto.



    The budget for the completed and installed artwork, including all artist fees, is $195,000 (plus HST).  
    Submissions will be reviewed by an independent jury convened for this project.  
    A shortlist of up to 5 artists or artist teams will be selected to prepare a site-specific design proposal for the two designated art sites. Shortlisted artists will be issued a detailed RFP with complete information about the project.  
    Shortlisted artists will be paid a $1,500 honourarium (plus HST) to create a design proposal which they will present to the competition jury. Artist presentations will take place in May of 2013. Travel costs will be covered for those living outside of a 200 km radius from Toronto.  


    Questions regarding the competition should be sent by email to:  


    Options for Homes is inviting interested Canadian artists to submit the following materials for consideration by the competition jury:

    a) Resumé and artist statement

    b) 10 images (maximum) of recent, relevant work (artist teams are to submit a maximum of 10 images total)

    c) An annotated image list including the title, date, materials, dimensions and commission amount of each work

    Do not submit design proposals as they will not be reviewed.

    Digital Images must be:  

    • pdf or jpg, RGB format, 72 dpi, no larger than 1 MB per image
    • images to be named with the number corresponding to the image list    

Please do not submit: 

  • materials that require software, plug-ins, extensions or other executables that need to be downloaded or installed
  • images that are imbedded in any type of presentation, such as PowerPoint, websites or Word


Please include a self-addressed stamped envelope to be used for the return of submission material, if desired.
Emailed or hard copy submissions are acceptable. Submissions must be received by Thursday February 28th, 2013 at 3:00 p.m.
Emailed submissions should be addressed to: reception@optionsforhomes.ca 
Hard copy submissions should be addressed to:
Options for Homes 
468 Queen Street East, Suite 310 
Toronto, ON M5A 1T7 
Attention: Jen 
Hours: 9:00 a.m. to 5:00 p.m., Monday to Friday




LIFT and imagineNATIVE
Make a short film for imagineNATIVE 2013Application Deadline:
Friday, February 15, 2013 by 5:00PM
Do you have a great idea for a 5 minute short film? Explore 16mm filmmaking through LIFT’s workshops, equipment and facilities (other mediums may be employed). Shoot and edit your ideas on film, and see them on screen at the 14th annual imagineNATIVE Film + Media Arts Festival, which will take place in Toronto from October 16-20, 2013!
You will be provided with a LIFT Membership, and be eligible to enroll in any training workshop offered during their Winter and Summer 2013 calendar. You will be paired with LIFT’s knowledgeable staff and a specially selected mentor to help you through your various development, production and post-production stages. imagineNATIVE will subsidize some additional costs related to your project, and facilitate aspects of your post-production stages.
Please note: Projects must be realistic in scope and subject matter as they must be completed and transferred to digital by September 25, 2013.
The participant will receive the opportunity to use LIFT’s extensive 16mm production equipment and facilities for their film. As every film is unique, equipment and facilities access will be established in the development phase (past equipment and facilities budgets have ranged from $500-$5,000). Any additional equipment, facilities, and production costs will be the responsibility of the participant.
imagineNATIVE will provide a $1,000 bursary towards production costs and 1,200 feet of 16mm film stock will be provided by Kodak. Assistance with transferring and processing will also be provided (approximately a $750 value). All other associated costs are to be covered by the participant. 
Eligibility Criteria: 
  • This call is open to Indigenous (First Nation, Métis, Inuit, other international Indigenous) candidates living in or near the GTA only
  • Preference will be given to artists who have not had the opportunity to work in film (Note: you do not have to be a youth, but youth may also apply)
  • Candidates must commit to attending the LIFT training workshops from March-August 2013. We strongly encourage applicants who are deadline driven and self-starters.
  • You must live in Toronto or within commuting distance from the city in order to access LIFT workshops and equipment. Travel subsidy and cost of living are NOT covered by this mentorship.


 Your Application Must Include: 
  • One-page short film idea
  • A half to one-page statement on why you would like to participate and how you would benefit from this mentorship;
  • Your bio (no resumes or CVs please). Please be certain to indicate your past experience with film, video and other artistic mediums, if any, and your Indigenous affiliation.
  • Contact info, including email, mailing address and phone number.
  • Email to LIFT@imagineNATIVE.org or Fax to 416.585.2313



Should you have additional questions, please call Isidra Cruz at 416.585.2333 or programming@imagineNATIVE.org
The deadline for submissions is
FRIDAY, FEBRUARY 15, 2013 by 5:00PM


Remaking Reseach – Emerging Research Practices in Art and Design

Emily Carr University of Art + Design and the Association of Independent Colleges of Art and Design (AICAD) wish to announce the availability of the video archive and exhibition catalogue for the symposium on art and design research that took place in Vancouver, Canada, in November 2012.

Remaking Research was an AICAD ‘working symposium’ centered on the pragmatics and possibilities of creative practice as research, both within art and design institutions and in the context of interdisciplinary, inter-institutional and partnered relations. This gathering was organized with the intent of sharing existing knowledge, showcasing new projects and contemporary methodologies, and addressing practical and ethical concerns involved in building successful research partnerships. Presentations, featured projects, and dialogue addressed three themes:

* The Production of Knowledge in Art and Design
*The Political Economies of Art and Design Research
* Networked and Partnered Research

The outcomes of this gathering, which brought together practitioners from over 40 institutions, include the publication of an exhibition catalogue on research methodologies developed and employed by artists featured in the exhibition that accompanied the symposium.

A complete video archive of the symposium’s content is now available online, including the keynote and plenary addresses, given by Graeme Sullivan, Director of the School of Visual Arts, Pennsylvania State University and Carol Strohecker, Director, the Center for Design Innovation, University of North Carolina.

Panel discussions and presentations on current research practices include contributions from Joanna Berzowska, Associate Professor and Chair, Design and Computation Arts, Concordia University, member, Hexagram Research Institute; Anne Burdick, Chair, Media Design Graduate Program, Art Center College of Design; Sara Diamond, President, OCAD University;Lisa Grocott, Associate Dean, Parsons, New School; Pamela Jennings, Director, Brenda and Earl Shapiro Centers for Research and Collaboration, School of the Art Institute of Chicago; Debera Johnson, Academic Director of Sustainability, Pratt Institute; Sanjit Sethi, Director, Centre for Art and Public Life, California College of Art;Rosanne Somerson, Provost, Rhode Island School of Design;Ezri Tarazi, Head of Industrial Design, Bezalel Academy of Art and Design, Jerusalem; and Laurene Vaughan, Nierenberg Chair, Distinguished Professor of Design, Carnegie Mellon University.

We wish to thank all of the delegates and contributors who attended this symposium. We also wish to acknowledge support from the Association of Independent Colleges of Art and Design, the Canada Council for the Arts, the Social Sciences and Humanities Research Council of Canada, and GRAND.

For more information please contact remaking@ecuad.ca 



Riverdale Art Walk – Artists Submission Form now online



Each year the Artists’ Network organizes the Riverdale Art Walk as our signature, large scale, public exhibition connecting artists and art lovers.

This is your opportunity to show and sell your work alongside other established and emerging artists – all in one area, all exhibiting over two great days.

The Riverdale Art Walk is a two-day public fine art exhibition showcasing established and emerging artists in retail spaces, artists’ studios and Jimmie Simpson Park in Toronto’s flourishing Queen St. East arts district. The first outdoor art show of Toronto’s season, participating artists are selected through an anonymous jury process, allowing for an opportunity to participate in the most affordable.











  • Outdoor installation art / sculpture
  • Video (projection-based, no sound)
  • Site-specific installations
  • Performance art
  • Public interventions
  • Murals
  • New media
  • Dance

Please note that a priority will be placed on that which can be safely seen, performed, or executed outside and that video content will be shown after sunset on outdoor screens. Each project selected will be allocated an anticipated budget of $600-$800 to include artist fee and production stipend.

Submission Requirements

Please send via email:


  • Artist’s statement (maximum 250 words)
  • CV or resume with mailing address, phone number and email contact information.
  • 3 images/stills/sketches of the proposed work, supported by 3-5 images of previous work relevant to the proposed project (jpeg, max. 72dpi no larger than 768×1024 pixels)
  • A clip, link or digital copy of any video (10 minutes max), if applicable
  • Brief physical description of the proposed work
  • Title, year, medium, dimensions for all images
  • Installation requirements including supplies, set-up time and number of assistants needed
  • Location suggestion for your work (optional)
  • A statement as to whether the proposed work has been exhibited before; if it has, please include details as to where and when




Send submissions to supercrawlart@gmail.com 






Deadline for submissions is
Sunday February 24 2013


Artists Information Meeting

Applicants are encouraged to attend an artist information meeting on January 31, 2013 from 7-8:30 pm, at the AGH Design Annex, 118 James St North in Hamilton, where committee members will review the sites available for installations and answer applicant questions.


About the Supercrawl Curatorial Committee

The Supercrawl Curatorial Committee presents a wide variety of artistic projects at the annual James Street North Supercrawl. The goal of the committee is to curate public art installations and performances in keeping with Supercrawl’s diversity, energy and scale. The committee selects projects by local, national and international artists based on artistic merit, originality, and ability to engage our diverse audience. This committee reports to the Supercrawl Board of Directors.

Since 2010, the committee has curated works in a variety of media, including works by Kelly Mark, Kim Adams, Max Streicher, Shayne Dark, Adam David Brown, Marie-Jeanne Musiol, Gareth Lichty, the McMaster Cybernetic Laptop Orchestra, Chris Shepherd, Shake-N-Make Collective, TH&B, Adad Hannah, EN MASSE, Brandon Vickerd, C.R. Avery and others.






2013 Subtle Technologies Festival: Call for Submissions

  • Location: Toronto, Canada
  • Festival dates: June 8 & 9, 2013
  • Submission deadline: February 25, 2013
  • Submit through our online form here
  • For more information, visit our website or contact us







deadline: February 19, 2013
University of Manitoba
University of Manitoba
deadline: February 19, 2013

Deadline: February 25, 2013 

Director, Mount Royal School of Art
Maryland Institute College of Art
Application deadline: February 4, 2013 or until position is filled
For information, contact:
Robert Merrill, Ph.D., Vice-Provost for Graduate Studies


OCAD University invites applications for a new Chair to lead its signature Indigenous Visual Culture Program as it launches the BFA and continues to develop programming and partnerships. The successful candidate will also teach in the Faculty of Art; he/she will support the development and infusion of Indigenous epistemologies and perspectives throughout the University, particularly in Faculty of Art programs. The Chair is supported by the Indigenous Mentor/Advisor, the Outreach Coordinator, and a Program Assistant, and works in collaboration with the Aboriginal (Indigenous) Education Council, the INVC Program Committee, the Faculty Deans, and the School of Interdisciplinary Studies Curriculum Committee in these endeavours. The position is to commence on July 1, 2013 and is subject to budgetary approval.
The successful candidate will:
* be expected to teach courses in the Faculty of Art and the new Indigenous Visual Culture Program including First-Year, studio and studio-seminar courses, as well as contribute to OCAD U graduate programs
* be expected to make significant contributions to research and scholarship in the fields of contemporary art and Indigenous visual culture
* provide service to the Faculty- and University-wide governance system, as well as service activities and outreach initiatives that contribute to the academic life and profile of the University
The ideal candidate will:
* hold an MFA or PhD or equivalent degree and possess an understanding of contemporary Indigenous art as well as familiarity with the professional art community
* have a demonstrated expertise in one of the art disciplines or an innovative interdisciplinary practice that engages the issues of Indigenous visual culture, media and technological innovations
* have administrative experience and commitment to academic support and access programs, and student support services
* have an interest in leading community outreach projects and experiential learning activities
* have an excellent record of exhibitions and research projects at the national and international level
* be fully conversant with critical issues, history, and Indigenous scholarship in Visual Culture and have a solid knowledge of contemporary art theory
* have a proven record of teaching at the post-secondary level and show an aptitude for innovative curriculum development and new forms of delivery such as e-learning and experiential learning
* have outstanding communication, interpersonal and time-management skills
* have a demonstrated commitment to the principles of equity and diversity, and proven ability to work effectively and collegially with a diverse population
Salary and rank will be commensurate with experience and qualifications with access to full benefits, and pension contribution after one year of service.
The review of applications will begin on March 1, 2013 and continue until the position is filled.
Applications should include a letter of intent stating the candidate’s interests in the areas of teaching, research/practice, and service to Faculty and university-wide governance; a curriculum vitae; a statement of teaching philosophy that responds to the profile of the position; a digital portfolio of recent work/ publications and the names and contact information of three referees, whose reference letters should be sent separately to Dr. Kathryn Shailer, Dean, Faculty of Liberal Arts & Science and School of Interdisciplinary Studies.
Please submit electronic applications in confidence to:
F. Aslam, Assistant
Faculty of Liberal Arts & Sciences and School of Interdisciplinary Studies
OCAD University
E-mail: faslam@ocadu.ca  





Sonny Assu, Happiest Future, digital print, 45.7 x 91.4 cm., 2012, image courtesy of the artist.



 February 8 – April 7, 2013


The Burnaby Art Gallery is pleased to present The Artist Poster Show, an exhibition exploring the didactic evolution of artist exhibition posters. Drawn primarily from the Burnaby Art Gallery’s permanent collection, the showcase spotlights the artist’s ability to communicate time, place, symbolism or space though an exhibition poster.


See works by artists like the eccentric Gilbert and George, the explosive international feminist group Guerrilla Girls, the beloved Canadian painter Jack Shadbolt and multidisciplinary artist Rodney Graham. Also on display will be a contemporary selection of artist posters from Vancouver artist-run centres like Artspeak, Or Gallery and Western Front. The exhibit will feature a newly commissioned 12-poster series by Sonny Assu (1200 printed posters will be available for free, and 20 special editions will

be available for purchase).



Lunch B.A.G. Day 
Friday, February 12, noon-1pm
All ages, $12 includes lunch
A tour and talk led by Public Programmer, Shaun Dacey. The tour will be followed by a lunch, a cheese selection and tea and coffee.
Register 24hrs in advance, 604-297-4422  
Curator’s Tour
Saturday, February 16, 2pm
All ages, Free

Talk and tour by BAG’s Director/Curator, Darrin Martens

In the B.A.G. – Family Program

Sunday, February 24, 1-4pm
All ages, Free
Join us for an interactive experience that combines the current gallery exhibit, The Artist Poster Show, with a free, hands-on studio activity. No registration required.

Dates: Friday, February 1 to March 8, 2012

Opening Reception at 8pm | Artist Talk at 9pm, Friday, February 1, 2013

Urban Shaman Gallery


Peter Morin’s Ceremony Experiments 1 through 8 are a careful examination of interrupting colonization. Ceremony is a carefully organized examination of the world. There is a beginning, a middle, and an end to ceremony. The participants are activators of change and transformation often occurs. Indigenous knowledge is shaped by the flow of ceremony. Cree Scholar Shawn Wilson’s book Research is Ceremony has informed Morin’s work as a maker of Ceremony Experiments- Cree scholar Shawn Wilson (2008) writes,

“The shared aspect of an Indigenous ontology and epistemology is relationally, or that relationships form reality. The shared aspect of an Indigenous axiology and methodology is that research must maintain accountability to all the relationships that it forms.”

Ceremony, and the subsequent spaces that are created, develop strong connections with the land. Morin’s Ceremony Experiments 1 through 8pose the questions, ‘How do we acknowledge the transformation? and what happens after the ceremony is finished?’ The experiments are a record of Morin’s attempts to interrupt colonization and return to the source of Tahltan Nation knowledge. Morin has organized the exhibition around the shape and flow of the Tahltan Land. The Land also informs where the knowledge, AKA the shape of organization for the experiments, comes from.





TimeTraveller™ Episodes 01-06

Dates: Friday, February 1 to March 8, 2012

Opening Reception at 8pm | Artist Talk at 9pm, Friday, February 1, 2013

Urban Shaman Gallery 

The TimeTraveller™ glasses enable you to be immersed in the environment. The HUD (Heads-up Display) gives you all the information you need to enjoy it – where and when you are; what languages are being spoken (along with a real-time translator), maps, and, of course, the Find-A-Date Search Engine. We take the information from historical records and use it to create 3D environments and avatars that are true replicas of the ones that existed in history.


Thursday, January 31, 2013

6:00 p.m.-8:00 p.m.



Join us for the opening of our new exhibition “Famous (Indian) Battles of the Muhheakantuck,” an exhibition by Jason Lujan. The event is FREE and light refreshments will be served, please call 212-923-8008  to reserve a place.


Famous (Indian) Battles of the Muhheakantuck by Jason Lujan

Muhheakantuck, a Lenape word meaning “river that flows both ways,” was the Indigenous name for what is now known as the Hudson River. Artist Jason Lujan presents ten prints based on 19th century, hand-tinted postcards and feudal Japanese scenic maps that examine the colonization of the Hudson River Valley. The series frames the region’s contention for land and resources using an uncharacteristic vocabulary.


Jason Lujan is of Chiricahua Apache background and has lived in New York City since 2001. He has been included in multiple solo and group exhibitions, including the Kentler International Drawing Space, Exit Art, Museum of Contemporary Native Art in Santa Fe, and Museo Nacional de Culturas Populares in Mexico City. Jason’s artwork is invested in language and motif to create a hybridization of traditional and contemporary elements seeking to advance an exploration between dialogue and styles that are not limited to their historical definitions.





Nadia Myre is a visual artist from Quebec and an Algonquin member of the Kitigan Zibi Anishnabeg.  For over a decade, her multi-disciplinary practice has been inspired by participant involvement as well as recurring themes of identity, language, longing and loss.  Myre is a graduate from Camosun College (1995), Emily Carr (1997), and Concordia University (M.F.A., 2002), and a recipient of numerous grants and awards, notably: Pratt & Whitney Canada’s ‘Les Elles de l’art’ for the Conseil des arts de Montréal (2011), Quebec Arts Council’s Prix à la création artistique pour la region des Laurentides (2009), and a prestigious Fellowship from the Eiteljorg Museum (2003).  In 2011 Myre was long-listed for the Sobey Art Award.  Recent solo exhibitions include Meditations on Black Lake (gallery Art Mûr, Montreal), Nadia Myre: Symbology (Carleton University Art Gallery, Ottawa), Skin Tissue -as part of Hides: Skin as Material and Metaphor, (National Museum of American Indian, Manhattan), and Landscapes of Sorrow and Other New Work (gallery Art Mûr, Montreal).  Her work was selected for the 2011 Montréal Biennale, and will be presented in the 2012 Sydney Biennial, and Changing Hands III at the Museum of Art and Design in Manhattan. Recent group exhibitions include Pour une république des rêves (CRAC Alsace – Centre Rhénan d’Art Contemporain, Altkirch, FR), Time, Le temp du dessin (Ensemble Poirel, Nancy, France), Vantage Point: The Contemporary Native Art Collection (National Museum of American Indian, National Mall, Washington, DC), Femmes Artistes. L’éclatement des frontières 1965-2000 (Musée national des beaux-arts du Québec, QC).  Her work has received accolades from the New York Times, The Washington Post, and Le Devoir, and has been featured in ARTnews, American Craft Magazine, Parachute, Canadian Art, and C Magazine.  Collecting institutions include: MacKenzie Art Gallery, City of Ottawa, Canada Council Art Bank, National Gallery of Canada, Musée National des Beaux-Arts du Québec, Bibliothèque et archives nationales du Québec, National Museum of American Indian, and Fonds Regional d’Art Contemporain de Lorraine in France.  Works may be seen in permanent exhibition at the Montreal Museum of Fine Arts, and the Canadian Museum of Civilization.


Philip Cote

Moose Deer Point First Nation

First Nations Affiliation: Shawnee, Lakota, Potawatomi & Ojibway

I am a graduate of The Ontario College of Art and Design and more recently I am in the second year in the IAMD Masters Program at OCAD University. I have been at the forefront of a group of artists who are exploring new ways to imbue sculpture and painting and installation sculpture with traditional spiritual perspectives. My work is available at a number of galleries across Canada and the United States. In 1994 I was in a two-person exhibition with Norval Morriseau at the Maslek Gallery in Sante Fe, New Mexico. I was commissioned in 2002 to create a 1000 square foot mural Kiinwin Dabaadjmowin (Our Story) Mural for the Mississauga’s of New Credit First Nation. As part of the Planet Indigenous 2004 festival I was artist in residence at the McMichael Art Gallery and in 2005 created a large scale mural Niinwin Dabaadjmowin – (We Are Talking) a 20-panel 80-foot mural depicting the rich history of the Anishnaabe people with the collaboration of First Nations street level youth and community members. My great-grandfather is the great-grandson of Tecumseh, and I am engaged in exploring the importance of the Shawnee leaders’ life and spirit. The most recent work a 5680 square foot mural is being displayed at Allen Gardens until 2015. “All My Relations” mural project is community based and a collaboration of five First Nations Organizations along with a committee made up of community members and two Elders. I co-managed and participated in designing one of five murals that make up this visual cultural way of storytelling. The most recent work was a story published in a book “Copper Thunderbird the art of Norval Morrisseau 2012.

My name is Peter Morin. I am a member of the Crow Clan of the Tahltan Nation. My grandmother is Dinah Creyke and my grandfather is John Creyke. I am a curator and artist living and working in Victoria BC. As a curator, artist and advocate for Indigenous expression, I have been working on developing a practice that articulates the nuances within indigenous epistemological structure. Within the larger Canadian context. I am driven to create spaces, within these western structures, that allow for deep connection to the complex nature of indigenous creative expression. In my work as an advocate for indigenous creative expression, I endeavour to work with as many traditional arts practices because I believe that understanding the philosophies connected to these creative technologies helps us in developing rich places of transformation.  I have worked with elders and youth to develop skills directly connected to these art histories. Over the past years, I have also had the opportunity to work across cultural boundaries and borders. I have worked as an social justice advocate, teacher, facilitator, cultural teacher, language teacher, and artist.  I have worked with Redwire Native Youth Media Society, grunt gallery, Daylu Dena Council, SD 62, SWOVA, Boys and Girls Club, and Surrounded by Cedar, Western Front, Open Space. After all these years, I know that the work of change starts at home with the lessons the grandparents kept for us. As a starting place for every project I always return to the teaching of our elders.


The ACC/CCA formally acknowledges the continued support of Board Members:

Chair: Jason Baerg is a Cree Métis Contemporary Artist pushing digital interventions in drawing, painting and new media. As technology drives the aesthetics in his installation work, Baerg has presented at such art events as Art Basel Miami, Toronto International Art Fair, and the International Symposium of Electronic Arts. 2012 continues to excite as he has been selected for residencies and exhibitions at the Royal Melbourne Institute of Technology (Australia), Waiariki Institute of Technology (New Zealand) and the state of the art Digital Dome at the Institute of American Indian Arts in Santa Fe, New Mexico. Jason Baerg has given formal artist talks at such institutions as New York City’s Parsons School of Design, the University of British Columbia, Canada and Whitecliffe College of Arts & Design in New Zealand. Committed to capacity development in the Arts, Jason Baerg volunteers as the Chair to the Aboriginal Curatorial Collective. To view his work and for contact information, please visit: http://www.jasonbaerg.com

Vice Chair: France Trépanier is a multidisciplinary artist, curator and researcher of Kanien’kéhaka (Mohawk) and québécois ancestry. Her artistic and curatorial work has been presented in Canada and France. Her work is characterized by the use of strategies of collaboration. Sometimes, the public is invited to intervene and transform the artwork. Sometimes it is within the creative process itself that the collaboration is anchored. Recently, France co-authored, with Chris Creighton-Kelly, Understanding Aboriginal Art in Canada Today: a Knowledge and Literature Review for the Canada Council for the Arts. She also conducted research projects for the Musée de la Civilisation du Québec, the Banff Centre and the Department of Canadian Heritage.

France worked at the Canada Council for the Arts before becoming a Senior Policy Advisor for the Department of Canadian Heritage. She held a diplomatic post as First Secretary, Cultural Affairs at the Canadian Embassy in Paris and was the founding Director of the Centre for New Media at the Canadian Cultural Centre in Paris. France was also the co-founder and Director of the artist-run center Axe Néo-7 in Gatineau, Quebec. France is co-chair of the Aboriginal Program Council at the Banff Centre. She is the co-recipient of the 2012 Audain Aboriginal Curatorial Fellowship by the Art Gallery of Greater Victoria.

Secretary: Jamie Issac (Representing Western Aboriginal Arts Practitioners)

Jaimie Isaac is from Winnipeg, Manitoba, and is of mixed heritage (Ojibwa/European) and member of Sagkeeng First Nation. She is a freelance writer, curator, artist and art administrator.  Isaac holds a degree in Art History and an Arts and Cultural Management Certificate from the University of Winnipeg. Currently she’s completing a Masters of Arts at  UBC Okanagan with a focus on Indigenous curatorial practices. For 3 years, Isaac was the Aboriginal Programs and Outreach Manager for Arts and Cultural Industries in Manitoba, programming events for artistic professional and economic development. Projects include, visual arts coordination for the inaugural Truth and Reconciliation Commission’s national event in Winnipeg (2010), curating Leah Decter’s (official denial) trade value in progress touring nationally (currently), and co-founding The Ephemerals Collective that produced Trending exhibition at the University of Winnipeg and film, Indian Maiden (2011). Jaimie has contributed essays in exhibition catalogs for Close Encounters: The Next 500 Years, unSacred, The West Coast Line and some press ephemera. She has presented at conferences at Princeton University in New Jersey, the University of British Columbia in Kelowna and Thompson Rivers University in Kamloops. Isaac has been involved with boards, collectives and juries across Canada. She has  been a voice and advocate for emerging Aboriginal curators and continues commitment to work with ACC/CCA to create opportunities for those coming forward in the Field.

Sherry Farrell Racette was born in Manitoba, and is of Métis heritage and a member of the Timiskaming First Nation (Quebec). Sherry earned a PhD from the University of Manitoba in the Interdisciplinary Program in Anthropology, History and Native Studies (2004). Farrell Racette has an active academic career and has taught at the First Nations University of Canada (Regina), Gabriel Dumont Institute (Regina), and Concordia University (Montreal). She has published numerous articles and essays in scholarly publications. Sherry Farrell Racette currently teaches in the Department of Native Studies at the University of Manitoba, in Winnipeg, while maintaining an active art practice. Sherry Farrell Racette is a respected academic and we are excited to work with her on the board and in conjunction to a successful Social Sciences and Humanities Research Council proposal which includes the enhancement of the ACC/CCA bibliography.

Mimi Gellman is an Anishinaabe-Ashkenazi Métis (Ojibway-Jewish Métis) conceptual artist, educator and PhD candidate in Cultural Studies at Queens University. A practicing, multi-disciplinary visual artist and curator with many years of experience, Gellman has an impressive list of accomplishments: from creating half-million dollar public art projects for the Rogers Centre and the Toronto Transit Commission to the building of large-scale architectural glass installations for sacred places (churches, synagogues, and mosques). A former instructor of design methodologies and ethics at the Ontario College of Art and Design, she is currently an Associate Professor in the Faculty of Culture and Community at Emily Carr University. Her upcoming PhD dissertation, “Between the Dreamtime and the GPS/ the Metaphysics of Indigenous Mapping,” will explore why land matters through the lens of Indigenous maps and will be manifested as an embodied project-based PhD. This 9 ft’ round carved wooden cabinet will function as a travelling mobile contact zone providing a place for dialogue between Indigenous and non-Indigenous Canadians to grapple with why land matters and will house her Indigenous mapping exhibition, archive and GPS interface. Her art installations can be found in numerous corporate and private collections, among them, Kraft-General Foods, Price-Waterhouse and Shoppers Drugmart Corp. Her work has been shown in numerous exhibitions in Canada and abroad, with highlights at the Museum of Modern Art in Passau, Germany, the Centre du Vitrail in France, the Canadian Embassy in Tokyo, Japan and most recently at the MOMA in New York, where her performative photographs were included in the seminal historical exhibition, “On Line: Drawing Through the Twentieth Century.”

Guy Sioui Durand (Representing the East and Francophone Aboriginal Arts Practitioners)

Guy Sioui Durand is Wendat (Huron) from Wendake, near Quebec City (Quebec). He circulates in the contemporary art field as a sociologist (Ph.D.), art critic, independent curator and performer ( www.siouidurand.org). As a fixture in the national and international art scene, Guy Sioui Durand has frequented many Indigenous specific conferences offering his expertise from Aboriginal Francophone perspective, which include many ACC/CCA colloquiums. His curatorial experiences and accomplishments are vast and include the Indian Art Program, celebrating Quebec City’s 400th anniversary, 1608-2008. He recently created conférences/performances for Integraçao/Actio : Sao Paulo-Québec (Brazil, 2011) and Dream’s Catcher for Story Tellers, the 24e Symposium d’Art Contemporain de Baie Saint-Paul (Canada, 2011). The ACC/CCA welcomes cultural warrior, Guy Sioui Durand and the opportunity to continue to strive for excellence and equity in the Arts with him.

Treasurer: Clayton Windatt (Representing Remote Aboriginal Arts Practitioners)

Clayton Windatt is a Métis curator, visual/media artist and arts administrator, currently working as Director at the White Water Gallery in North Bay, Ontario. He works actively with the Métis Nation conducting educational workshops and volunteering at community events. Clayton holds a BA in Fine Art from Nipissing University and received his Graphic Designer certification from Canadore College. He contributes to several provincial and regional organizations as a writer, designer, curator and theatre technician. Clayton’s current artistic body of work explores unclear personal origins focusing on peer pressure within adolescent male bonding and gang violence. With his commitment to community engagement, supported by his abilities in Internet technologies, it is an honor to work with Clayton as he steps up to the ACC/CCA Secretary post, where he will focus on best communication strategies for the organization.


The ACC/CCA formally acknowledges our Advisory Council:

Ryan Rice, a Mohawk of Kahnawake, Quebec is an artist and curator. Rice received a Master of Arts degree in Curatorial Studies from the Center for Curatorial Studies, Bard College, New York, graduated from Concordia University, Montreal with a Bachelor of Fine Arts and received an Associate of Fine Arts from the Institute of American Indian Arts, Santa Fe, New Mexico. He has worked for the past 18 years within the museum/art gallery milieu across Canada and the United States. He has published articles in the periodicals – Canadian Art, Spirit, Fuse, Muse and Blackflash and has contributed to numerous publications, such as Manifestations: New Native Art Criticism and Changing Hands 3. Rice is also a co-founder, former director and cultural advisor of the Aboriginal Curatorial Collective. His exhibitions include ANTHEM: Perspectives on Home and Native Land, Oh So Iroquois, Scout’s Honour, Hochelaga Revisited, ALTERNATION, Soul Sister: Re-imagining Kateri Tekakwitha, drift: works by Mark Igloliorte and Counting Coup. In 2009, he joined the Museum of Contemporary Native Arts in Santa Fe, New Mexico as Chief Curator.

In her curatorial and writing practice Cathy Mattes focuses on Aboriginal issues and art, and explores concepts of community and dialogical aesthetics. Several examples are: Frontrunners (2011, Urban Shaman Gallery and Plug-In ICA) Blanche: KC Adams & Jonathan Jones (2008, Chalkhorse Gallery, Sydney Australia), Rockstars & Wannabes (2007, Urban Shaman Gallery), and Transcendence – KC Adams (2006, Art Gallery of Southwestern Manitoba). Mattes has contributed writings to the Museum of Contemporary Native Arts, MAWA (Mentoring Artists For Women’s Art), Art Gallery of Greater Victoria, The Winnipeg Art Gallery, Plug-In ICA, National Museum of the American Indian, and Gallery 101 to name some. In 2010 she was chosen to be a delegate on the Canada Council Aboriginal Curators Delegation to New Zealand and Australia and has presented lectures nationally and internationally. In addition to her freelance work Mattes was the curator at the Art Gallery of Southwestern Manitoba between 2003 and 2005, and has been a consultant for various government agencies and arts organizations. Mattes is an Assistant Professor teaching art history at Brandon University in the Visual and Aboriginal Arts Department, and is pursuing her PHD studies at the University of Manitoba in Native Studies. She is a proud Katipâmsôchik (Metis) living in Southwest Manitoba.

Kathleen Ash-Milby is an Associate Curator at the Smithsonian National Museum of the American Indian (NMAI) in New York.   A member of the Navajo Nation, she earned her master of arts from the University of New Mexico in Native American art history.  She worked as an independent curator, writer, and consultant on numerous contemporary art exhibitions and was the curator and co-director of the American Indian Community House Gallery in New York City from 2000-2005. At NMAI she organized the exhibitions C.Maxx Stevens: House of Memory (2012) and Off the Map: Landscape in the Native Imagination (2007).  She was the co-curator, with Truman Lowe, for Edgar Heap of Birds: Most Serene Republics, a public art installation and collateral project for the 52nd International Art Exhibition / Venice Biennale (2007).  Ash-Milby is a recipient of a 2011 Secretary of the Smithsonian’s Excellence in Research Award for her exhibition and publication HIDE: Skin as Material and Metaphor (2010). She served on the boards of the Aboriginal Curatorial Collective (2007-2012), the American Indian Community House (2005-2007), and is currently the president of the Native American Art Studies Association (2011-2013).


Staff Bios:

Web Editor: Gloria Jane Bell is a multi-disciplinary arts worker. She is Métis with ancestral ties to the Red River and James Bay, and writes about indigenous culture issues on her blog metisramblings.Gloria holds an MA degree in Art History and Native Studies from Carleton University. She has written critical essays for the Wicazo Sa Review, Métis in Canada Anthology, Métis Nation of Ontario’s Voyageur and Gallery 101, Ottawa. She enjoys photography in her spare time.



Interim National Coordinator: Jessie Short attained a BA at Trent University in Native Studies and Anthropology Short and an MA Degree in Social Justice and Equity Studies at Brock University. Jessie’s MA thesis explores Métis-specific visual culture studies through an examination of three prominent Métis visual artists: Christi Belcourt, David Garneau and Rosalie Favell. During her graduate studies, Jessie received an Ontario Graduate scholarship (2007), a Joseph-Armand Bombardier Canada Graduate Scholarship – Master’s (2008), and a National Aboriginal Achievement Foundation Post- Secondary bursary (2009). Jessie also worked at The Banff Centre between 2009-2010 as the Aboriginal Arts Administration and Research workstudy before moving into a contract position as one of the Program Coordinators of Creative Residencies for the visual arts department. After Banff, Jessie returned to Ontario to finish writing and successfully defend her MA thesis in the summer of 2011. Jessie presented her research on contemporary Métis visual culture at the Aboriginal Curatorial Collective symposium in October, 2011. In June, 2012, Jessie co-curated the exhibition entitled Emnowaangosjig || Coming Out: The Shifting and Multiple Self with Vanessa Dion Fletcher.



Spotlight:  A new day, a new Director

The appointment of a new Director of the Aboriginal Art Centre (formerly the Indian and Inuit Art Centres) at Aboriginal Affairs and Northern Development has finally been realized after numerous years of uncertainty. Kitigan Zibi Anishinabeg Linda Grussani enters the position with an exemplary record that includes more than10 years of experience as an arts administrator and a strong advocate for Aboriginal arts and curatorial practice. Linda worked in the Indigenous and Canadian art departments at the National Gallery of Canada and was key to the research and development of the Art of This Land permanent exhibition. Her commitment to advancing Aboriginal art is supported by a combination of her enthusiastic drive, extensive knowledge of the field and arts management skills, all of which will support a fresh strategic vision the Aboriginal Art Centre truly needs.


The Aboriginal Art Centre is the last official cultural program in the Canadian government sector and administers an extraordinary national collection of over 4000 works of art. The Aboriginal Art Centre has a dynamic, longstanding history that is crucial to the establishment of an ongoing Aboriginal arts presence critical to a national identity.[1] In 1990, a consultation group that included former directors Tom Hill and Rick Hill recommended that the centre maintain a quality national public collection and was mandated (and supported by the authority of the Treasury Board of Canada) to continue acquiring artworks for the collection with an emphasis on new and emerging artists. Many artists and curators including Robert Houle and the late Joane Cardinal Schubert further supported the centre’s direction.


Upon her departure from the National Gallery of Canada, Charlie Hill, Curator of Canadian Art acknowledged Linda’s work ethic and generous spirit. In a letter dated 15 December 2012, Hill wrote, “I can’t thank you enough Linda for all your work for the National Gallery. You’ve been a hard worker, a superb colleague and I know many projects would not have come to fruition without you.” It is with certainty that the Aboriginal Art Centre is in good hands, and Linda will lead the program and national collection forward effectively with great success.



Ryan Rice, January 2013


[1] For a brief history of the Aboriginal Art Centre (through 2002), read “Presence and Absence: Indian Art in the 1990s” by Ryan Rice in Definitions de la culturel visuelle V. Mondialisation et postcolonialisme, Musee d’art contemporaine de Montreal, 2002.