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Morris and Helen Belkin Art Gallery, University of British Columbia eBooks, 2020
"The Morris and Helen Belkin Art Gallery is pleased to present an exhibition of work by the ... more "The Morris and Helen Belkin Art Gallery is pleased to present an exhibition of work by the 2020 graduates of the University of British Columbia’s two-year Master of Fine Arts program: Matthew Ballantyne, Alejandro A. Barbosa, Rosamunde Bordo, Sam Kinsley, Nazanin Oghanian and Jay Pahre. This program in the Department of Art History, Visual Art and Theory is limited each year to a small group of four to six artists, who over the two years foster different sensibilities developed within an intimate and discursive working environment. We offer tours of the gallery for groups of up to five people." -- Publisher's website
Routledge eBooks, Dec 5, 2022
A thesis submitted to the Faculty of Graduate Studies and Research in the partial fulfillment of ... more A thesis submitted to the Faculty of Graduate Studies and Research in the partial fulfillment of the requirement for the degree of Master of Arts.
Indigenous performance art. I especially appreciate how you made yourself so available even thoug... more Indigenous performance art. I especially appreciate how you made yourself so available even though you were thousands of miles away. I also wish to thank Aaron Fry for his perceptive contributions to this project. I also want extend a very heartfelt thank-you to Dr. Sherry Farrell Racette. Who knew that the conversation we had over coffee would lead to the chapter on Go-won-go Mohawk? The conversation was an example of her generosity and the breath of her knowledge. Her words of wisdom have helped me stay the course. I also wish to thank Dr. Jolene Rickard, Ngahiraka Mason and Dr. Julie Nagam. The time I spent with all of you had a profound influence on my present as well as my future scholarship. This project would not have existed if it was not for the artists who have generously shared with me their wisdom, their vision and their time: Rosalie Favell, Barry Ace, Adrian Simpson, Thirza Cuthand, Dayna Danger and Erin Konsmo. I really can never thank you enough. You are all so brave, even though we seem to accept those who do not conform to the heteronormative expectations, this is still not a safe world. Throughout the process of researching, I was fortunate to come across a number of people who were so helpful. These include: Diane S. Tyink, Museum Archivist of the Maxwell Museum of Anthropology; Marva Felchlin, Director, Libraries and Archives of the Autry Museum; Diana Purdue, Curator of Collections at the Heard Museum; Cheri v Falkenstein Doyle, Curator at the Wheelwright Museum of the American Indian. Thank you for answering my queries and being so responsive to my requests. I also want to acknowledge the University of New Mexico's Art Department for providing me with a number of teaching assistantships and graduate assistantships while I was enrolled in the program, and for awarding me the David Craven Scholarship. I was also the recipient of a Graduate Studies Travel Award, which I used to attend the Indigenous Knowledges and Methods Symposium in Montreal. I also wish to thank the Peabody Essex Museum Fellowship for helping me fund my trip to Montreal. During the final stage of writing my dissertation I was awarded a month-long residency at the Banff Center for the Arts. During that time I was provided space and the companionship of brilliant Indigenous minds and the conversations we had were so inspiring. To my cohorts, Joi Arcand, Jason
Wicazo Sa Review, 2012
ABSTRACT What does indigenous curatorial methodologies mean in terms of curation, and how does an... more ABSTRACT What does indigenous curatorial methodologies mean in terms of curation, and how does an indigenous model of curation differ from that of a Western model? Forward thinkers such as the art historian Nancy Marie Mithlo and the curator Ryan Rice describe indigenous curatorial exhibition projects as utilizing a process of consultation and mentorship, as opposed to a Western notion in which individuality and authorship are highly valued. Although this individualism is most apparent in early ethnographical displays of Native Americans, it is still evident in contemporary Western practice in which the curator maintains a position of authority and is seen as the interpreter for the masses. The purpose of my discussion is not to critique the Western model of curation, but rather to present two examples of how indigenous methodologies and practices that Mithlo and Ryan cite are presently taught and utilized in the curatorial field. The first example emphasizes the notion of mentorship and demonstrates how this practice is integrated into the curriculum presently being taught in the museum studies program at the Institute of American Indian Art (IAIA), in Santa Fe, New Mexico. The second example is an examination of my experience as the curator of the exhibition Through Their Eyes: Indian Painting in Santa Fe, 1918-1945 at the Wheelwright Museum of the American Indian (May 17, 2009-April 18, 2010). My focus in this instance is on how the process of consultation was used throughout various stages of this project, and more important, how it was used to bring together what may have been competing interests. The museum studies program at the Institute of American Indian Arts is one of the oldest in the United States. The IAIA was created by an act of Congress in 1962; a federally funded institution, it offers an associate of fine arts and bachelor of arts degrees in all its disciplines, in addition to a masters of arts in creative writing. In 1972, IAIA created a museum studies program to meet the needs of tribal communities. Originally, the department offered a certificate and an AFA degree. The focus of the program was to teach Native Americans museum practices so that students could return to their communities to assist or become administrators of tribal cultural centers or museums. At that time, the museum and the Institute were located on the grounds of the Santa Fe Indian Boarding School. In 1977, the institute moved to the College of Santa Fe campus, but the museum remained on the boarding school's grounds until 1992, when the Institute of American Indian Arts acquired a federal building in downtown Santa Fe that would become what is now the Museum of Contemporary Native Arts (MoCNA). Museum studies classes were taught at this downtown location as well as on campus. In the 1990s, the museum was primarily a teaching institution, as demonstrated by the fact that under the direction of Chuck Dailey, chair of the museum studies department, the students enrolled in the museum problems class designed and installed many of the new museum exhibitions at MoCNA. By the fall of 1999, the courses being offering by the department had increased to seventeen. Since the late 1990s, the department has incorporated indigenous worldviews into its curriculum, a move that has become an even greater priority for museum studies in the last five years. In 2005, a new facility for museum studies was added to the hundred-acre campus of the IAIA in southern Santa Fe. The building consists of studios, classrooms, and a teaching art gallery called the Primitive Edge. This gallery space is an integral part of the museum studies curriculum, especially for Exhibitions I and II classes. Exhibition I is primarily a hands-on course in exhibition preparation. Students learn mount making, framing, matting, and generally serve as a volunteer work crew for the four student exhibitions presented each semester in the gallery space. The Exhibitions II curriculum was built on the foundations of Exhibitions I but was dropped in 2005 and replaced by Museum Studies 240: Telling Our Stories: Museum Curatorial Practices and Methodologies. The intent of this course is for students to understand the process of planning an exhibition, including preparing and presenting...
Morris and Helen Belkin Art Gallery, University of British Columbia eBooks, 2020
"The Morris and Helen Belkin Art Gallery is pleased to present an exhibition of work by the ... more "The Morris and Helen Belkin Art Gallery is pleased to present an exhibition of work by the 2020 graduates of the University of British Columbia’s two-year Master of Fine Arts program: Matthew Ballantyne, Alejandro A. Barbosa, Rosamunde Bordo, Sam Kinsley, Nazanin Oghanian and Jay Pahre. This program in the Department of Art History, Visual Art and Theory is limited each year to a small group of four to six artists, who over the two years foster different sensibilities developed within an intimate and discursive working environment. We offer tours of the gallery for groups of up to five people." -- Publisher's website
Routledge eBooks, Dec 5, 2022
A thesis submitted to the Faculty of Graduate Studies and Research in the partial fulfillment of ... more A thesis submitted to the Faculty of Graduate Studies and Research in the partial fulfillment of the requirement for the degree of Master of Arts.
Indigenous performance art. I especially appreciate how you made yourself so available even thoug... more Indigenous performance art. I especially appreciate how you made yourself so available even though you were thousands of miles away. I also wish to thank Aaron Fry for his perceptive contributions to this project. I also want extend a very heartfelt thank-you to Dr. Sherry Farrell Racette. Who knew that the conversation we had over coffee would lead to the chapter on Go-won-go Mohawk? The conversation was an example of her generosity and the breath of her knowledge. Her words of wisdom have helped me stay the course. I also wish to thank Dr. Jolene Rickard, Ngahiraka Mason and Dr. Julie Nagam. The time I spent with all of you had a profound influence on my present as well as my future scholarship. This project would not have existed if it was not for the artists who have generously shared with me their wisdom, their vision and their time: Rosalie Favell, Barry Ace, Adrian Simpson, Thirza Cuthand, Dayna Danger and Erin Konsmo. I really can never thank you enough. You are all so brave, even though we seem to accept those who do not conform to the heteronormative expectations, this is still not a safe world. Throughout the process of researching, I was fortunate to come across a number of people who were so helpful. These include: Diane S. Tyink, Museum Archivist of the Maxwell Museum of Anthropology; Marva Felchlin, Director, Libraries and Archives of the Autry Museum; Diana Purdue, Curator of Collections at the Heard Museum; Cheri v Falkenstein Doyle, Curator at the Wheelwright Museum of the American Indian. Thank you for answering my queries and being so responsive to my requests. I also want to acknowledge the University of New Mexico's Art Department for providing me with a number of teaching assistantships and graduate assistantships while I was enrolled in the program, and for awarding me the David Craven Scholarship. I was also the recipient of a Graduate Studies Travel Award, which I used to attend the Indigenous Knowledges and Methods Symposium in Montreal. I also wish to thank the Peabody Essex Museum Fellowship for helping me fund my trip to Montreal. During the final stage of writing my dissertation I was awarded a month-long residency at the Banff Center for the Arts. During that time I was provided space and the companionship of brilliant Indigenous minds and the conversations we had were so inspiring. To my cohorts, Joi Arcand, Jason
Wicazo Sa Review, 2012
ABSTRACT What does indigenous curatorial methodologies mean in terms of curation, and how does an... more ABSTRACT What does indigenous curatorial methodologies mean in terms of curation, and how does an indigenous model of curation differ from that of a Western model? Forward thinkers such as the art historian Nancy Marie Mithlo and the curator Ryan Rice describe indigenous curatorial exhibition projects as utilizing a process of consultation and mentorship, as opposed to a Western notion in which individuality and authorship are highly valued. Although this individualism is most apparent in early ethnographical displays of Native Americans, it is still evident in contemporary Western practice in which the curator maintains a position of authority and is seen as the interpreter for the masses. The purpose of my discussion is not to critique the Western model of curation, but rather to present two examples of how indigenous methodologies and practices that Mithlo and Ryan cite are presently taught and utilized in the curatorial field. The first example emphasizes the notion of mentorship and demonstrates how this practice is integrated into the curriculum presently being taught in the museum studies program at the Institute of American Indian Art (IAIA), in Santa Fe, New Mexico. The second example is an examination of my experience as the curator of the exhibition Through Their Eyes: Indian Painting in Santa Fe, 1918-1945 at the Wheelwright Museum of the American Indian (May 17, 2009-April 18, 2010). My focus in this instance is on how the process of consultation was used throughout various stages of this project, and more important, how it was used to bring together what may have been competing interests. The museum studies program at the Institute of American Indian Arts is one of the oldest in the United States. The IAIA was created by an act of Congress in 1962; a federally funded institution, it offers an associate of fine arts and bachelor of arts degrees in all its disciplines, in addition to a masters of arts in creative writing. In 1972, IAIA created a museum studies program to meet the needs of tribal communities. Originally, the department offered a certificate and an AFA degree. The focus of the program was to teach Native Americans museum practices so that students could return to their communities to assist or become administrators of tribal cultural centers or museums. At that time, the museum and the Institute were located on the grounds of the Santa Fe Indian Boarding School. In 1977, the institute moved to the College of Santa Fe campus, but the museum remained on the boarding school's grounds until 1992, when the Institute of American Indian Arts acquired a federal building in downtown Santa Fe that would become what is now the Museum of Contemporary Native Arts (MoCNA). Museum studies classes were taught at this downtown location as well as on campus. In the 1990s, the museum was primarily a teaching institution, as demonstrated by the fact that under the direction of Chuck Dailey, chair of the museum studies department, the students enrolled in the museum problems class designed and installed many of the new museum exhibitions at MoCNA. By the fall of 1999, the courses being offering by the department had increased to seventeen. Since the late 1990s, the department has incorporated indigenous worldviews into its curriculum, a move that has become an even greater priority for museum studies in the last five years. In 2005, a new facility for museum studies was added to the hundred-acre campus of the IAIA in southern Santa Fe. The building consists of studios, classrooms, and a teaching art gallery called the Primitive Edge. This gallery space is an integral part of the museum studies curriculum, especially for Exhibitions I and II classes. Exhibition I is primarily a hands-on course in exhibition preparation. Students learn mount making, framing, matting, and generally serve as a volunteer work crew for the four student exhibitions presented each semester in the gallery space. The Exhibitions II curriculum was built on the foundations of Exhibitions I but was dropped in 2005 and replaced by Museum Studies 240: Telling Our Stories: Museum Curatorial Practices and Methodologies. The intent of this course is for students to understand the process of planning an exhibition, including preparing and presenting...