Matthew Ryan Smith - Academia.edu (original) (raw)
Edited Books by Matthew Ryan Smith
Aki-wayn-zih: A Person as Worthy as the Earth, Sep 2021
2022 Governor General's Award Winner for English-language non-fiction Aki-wayn-zih is a story ... more 2022 Governor General's Award Winner for English-language non-fiction
Aki-wayn-zih is a story about the land and its spiritual relationship with the Anishinaabayg, from the beginning of their life on Miss-koh-tay-sih Minis (Turtle Island) to the present day. Baxter writes about Anishinaabay life before European contact, his childhood memories of trapping, hunting, and fishing with his family on traditional lands in Treaty 9 territory, and his personal experience surviving the residential school system. Examining how Anishinaabay Kih-kayn-daa-soh-win (knowledge) is an elemental concept embedded in the Anishinaabay language, Aki-wayn-zih explores history, science, math, education, philosophy, law, and spiritual teachings, outlining the cultural significance of language to Anishinaabay identity. Recounting traditional Ojibway legends in their original language, fables in which moral virtues double as survival techniques, and detailed guidelines for expertly trapping or ensnaring animals, Baxter reveals how the residential school system shaped him as an individual, transformed his family, and forever disrupted his reserve community and those like it. Through spiritual teachings, historical accounts, and autobiographical anecdotes, Aki-wayn-zih offers a new form of storytelling from the Anishinaabay point of view.
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Edited Exhibition Catalogues by Matthew Ryan Smith
Skawennati: From Skyworld to Cyberspace, 2020
From Skyworld to Cyberspace is a result of Skawennati's continuing investigation of cultural cons... more From Skyworld to Cyberspace is a result of Skawennati's continuing investigation of cultural construction, contemporary Indigenous self-representation in cyberspace, and of our relationships with the digital world. Skawennati makes art that addresses history, the future, and change from an Indigenous perspective.
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Andil Gosine: COOLIE COOLIE VIENS, 2018
Gosine presents an autoethnographic study of life after the end of indentureship, interrogating i... more Gosine presents an autoethnographic study of life after the end of indentureship, interrogating its legacy and the social and political effects it has had on Indo-Caribbean communities, transforming their lives through intergenerational trauma.
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Book Chapters by Matthew Ryan Smith
Future Imaginaries: Indigenous Art, Fashion, Technology, 2024
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Aesthetics of Resistance: On the Multiple Forms of Graffiti, 2018
In this chapter, I propose that indigenous graffiti and street art are interconnected with the po... more In this chapter, I propose that indigenous graffiti and street art are interconnected with the political mobilization of indigenous groups who actively oppose the structural and systemic histories of violence suffered by indigenous people under settler colonialism. Indigenous graffiti and street art work to destabilize colonial occupations of indigenous territory, by drawing attention to the ways that the existence of settler colonial infrastructure and architecture operates as material evidence of indigenous suffering. By attempting to reclaim the constructed spaces of colonialism through modes of socio-aesthetic intervention, I maintain that the work produced by indigenous graffiti writers and street artists unfold productive strategies of decolonization. My analysis raises questions about the radical potential of indigenous graffiti and street art to delegitimize oppressive social conditions inflicted upon indigenous people by colonial powers.
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Public Art in South Africa: Bronze Warriors and Plastic Presidents, 2017
How does South Africa deal with public art from its years of colonialism and apartheid? How do ne... more How does South Africa deal with public art from its years of colonialism and apartheid? How do new monuments address fraught histories and commemorate heroes of the struggle? Across South Africa, statues commemorating figures such as Cecil Rhodes have provoked heated protests, while new works commemorating icons of the liberation struggle have also sometimes proved contentious. In this lively volume, Kim Miller, Brenda Schmahmann and an international group of contributors explore how works in the public domain in South Africa serve as a forum in which important debates about race, gender, identity and nationhood play out. Examining statues and memorials as well as performance, billboards, and other temporal modes of communication, the authors of these essays consider the implications of not only the exposure, but also erasure of events and icons from the public domain. Revealing how public visual expressions articulate histories and memories, they explore how such works may serve as a forum in which tensions surrounding race, gender, identity, or nationhood play out.
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Articles in Peer-Reviewed Journals by Matthew Ryan Smith
Journal of Indentureship and its Legacies, Jul 4, 2023
Andil Gosine’s participant-driven performance Cane Portraiture aestheticizes the social history o... more Andil Gosine’s participant-driven performance Cane Portraiture aestheticizes the social history of indentured labourers in the Caribbean. The work expands the field of relations surrounding the discourse of ‘coolitude’ – the dissemination of Indian labour during the 19th century – by redressing the ‘coolie odyssey’. By doing so, Gosine suggests that the pathos of displacement produced by the 'coolie odyssey' moves through generations of the Caribbean diaspora. In an attempt to define and reconcile this tension, Cane Portraiture attempts to locate a renewed sense of place and of ‘home’. For Gosine, then, the conceptualization of 'home' is approached as an embodiment of a person or site that is shared with others.
This article was originally published in issue 36.3 (2019) of Blackflash Magazine.
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Canadian Journal of Native Studies, 2020
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Afterimage: The Journal of Media Arts and Cultural Criticism, 2019
This article examines how contemporary artists respond to the technique of hydraulic fracturing, ... more This article examines how contemporary artists respond to the technique of hydraulic fracturing, more commonly known as “fracking.” Drawing on examples of political protest and social activism, with special focus on the ways that artistic interventions challenge energy corporations in galleries and museums, Smith analyzes how artists fuse concerns over the environment with critical aesthetics. By doing so, they explore the problematic relationships between fracking and climate change, waste, environmental degradation, pollution, and public health. In the wake of new data, research, and dissent, it is argued that contemporary art visualizes protest and continues to play a role in picturing the potentially harmful effects of fracking. Accordingly, Smith proposes that artists formulate innovative ways to confront an authoritative fuel industry and translate key issues into new modes of understanding.
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Afterimage: The Journal of Media Arts and Cultural Criticism, Oct 2015
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Yishu: Journal of Contemporary Chinese Art, Jul 2015
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Biography: An Interdisciplinary Quarterly, 2015
This paper argues that autobiographical video art radically transforms intersubjective relationsh... more This paper argues that autobiographical video art radically transforms intersubjective relationships with viewers, and in doing so deconstructs critical spectatorship by positioning the viewer as an interlocutor. Here I draw attention to the work of visual artists Lisa Steele, Colin Campbell, Peter Kingstone, and Irene Loughlin who help to reconceptualize the interlocutor subject position by using unorthodox transmedial aesthetic strategies.
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Reconstruction: Studies in Contemporary Culture, Apr 1, 2015
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Reconstruction: Studies in Contemporary Culture, Apr 1, 2015
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Journal of Curatorial Studies, Mar 2015
Amateur artists and artist-professionals recreate and upload intermedial artworks by visual artis... more Amateur artists and artist-professionals recreate and upload intermedial artworks by visual artists Bas Jan Ader, Lisa Steele, and Vito Acconci to proprietary social media such as YouTube and Vimeo. What does this impulse signify? On the one hand, our “culture of confession,” facilitates narcissistic social expressions that leach into the digi-cultural sphere. On the other hand, late capitalism threatens the fragile singularity of the individual. Consequently, the way that people understand others has changed, and thus the knowledge generated from the original artwork may no longer be enough—it must be embodied and re-produced to fully understand and value its meaning. Drawing on the writings of Philip Lejeune, Chloe Taylor, and Nancy K. Miller, I argue that the impulse towards recreating and “sharing” artwork online characterizes a desire to better understand the self through the artist’s artwork, and produce intersubjective viewing encounters with others.
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Studies in Visual Arts and Communication, 2014
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Senses and Society, 2014
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Yishu: Journal of Contemporary Chinese Art, Jul 2014
Since his exhibition We Buy White Albums at New York City’s Recess Gallery in 2013, Houston-born ... more Since his exhibition We Buy White Albums at New York City’s Recess Gallery in 2013, Houston-born artist Rutherford Chang has garnered international media attention, appearing in such publications as the New York Times and the Guardian. We Buy White Albums is a collection and display of now 944 copies of The Beatles’s seminal 1968 White Album, which was designed by the English pop artist Richard Hamilton. Although Chang’s name is now synonymous with We Buy White Albums, this work certainly does not define his rich and expanding body of work. Chang continues to examine the crossovers between China and North America, drawing his attention to how and why cultural appropriation operates. I had the opportunity to discuss this and other areas of interest with Chang.
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The Senses and Society, 2014
Canadian artist Bill Burns’s recent opus “Dogs and Boats and Airplanes” represents a profound imm... more Canadian artist Bill Burns’s recent opus “Dogs and Boats and Airplanes” represents a profound immersion in the iconography of travel and the sophisticated commercial industry which enables it. The project is both multi-sensorial in its focus on object inter- actions, and interdisciplinary in that it engages cinematic appropriation, quotidian social phenomena, and commu- nity participation. Comprised of drawings, a photographic series, a photo book, a postcard book, a collection of salt and pepper shakers, a vinyl album, a video and a print series, this heterogeneous body of work has been widely exhibited during various stages of development though it has yet to be presented together in its entirety. In effect, “Dogs and Boats and Airplanes” engages with animal and mechanical interactions in the post-industrial world largely by way of tactile, relational, and sonic encounters. Burns’s preoccupation with a central theme – in this case, dogs, boats, and airplanes – and dili- gent accumulation of images and objects pays homage to Dadaist strategies of incongruence and absurdity to question how seemingly unrelated elements cultivate new aesthetic vocabularies.
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Afterimage: Journal of Media Arts and Criticism
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Aki-wayn-zih: A Person as Worthy as the Earth, Sep 2021
2022 Governor General's Award Winner for English-language non-fiction Aki-wayn-zih is a story ... more 2022 Governor General's Award Winner for English-language non-fiction
Aki-wayn-zih is a story about the land and its spiritual relationship with the Anishinaabayg, from the beginning of their life on Miss-koh-tay-sih Minis (Turtle Island) to the present day. Baxter writes about Anishinaabay life before European contact, his childhood memories of trapping, hunting, and fishing with his family on traditional lands in Treaty 9 territory, and his personal experience surviving the residential school system. Examining how Anishinaabay Kih-kayn-daa-soh-win (knowledge) is an elemental concept embedded in the Anishinaabay language, Aki-wayn-zih explores history, science, math, education, philosophy, law, and spiritual teachings, outlining the cultural significance of language to Anishinaabay identity. Recounting traditional Ojibway legends in their original language, fables in which moral virtues double as survival techniques, and detailed guidelines for expertly trapping or ensnaring animals, Baxter reveals how the residential school system shaped him as an individual, transformed his family, and forever disrupted his reserve community and those like it. Through spiritual teachings, historical accounts, and autobiographical anecdotes, Aki-wayn-zih offers a new form of storytelling from the Anishinaabay point of view.
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Skawennati: From Skyworld to Cyberspace, 2020
From Skyworld to Cyberspace is a result of Skawennati's continuing investigation of cultural cons... more From Skyworld to Cyberspace is a result of Skawennati's continuing investigation of cultural construction, contemporary Indigenous self-representation in cyberspace, and of our relationships with the digital world. Skawennati makes art that addresses history, the future, and change from an Indigenous perspective.
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Andil Gosine: COOLIE COOLIE VIENS, 2018
Gosine presents an autoethnographic study of life after the end of indentureship, interrogating i... more Gosine presents an autoethnographic study of life after the end of indentureship, interrogating its legacy and the social and political effects it has had on Indo-Caribbean communities, transforming their lives through intergenerational trauma.
Bookmarks Related papers MentionsView impact
Future Imaginaries: Indigenous Art, Fashion, Technology, 2024
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Aesthetics of Resistance: On the Multiple Forms of Graffiti, 2018
In this chapter, I propose that indigenous graffiti and street art are interconnected with the po... more In this chapter, I propose that indigenous graffiti and street art are interconnected with the political mobilization of indigenous groups who actively oppose the structural and systemic histories of violence suffered by indigenous people under settler colonialism. Indigenous graffiti and street art work to destabilize colonial occupations of indigenous territory, by drawing attention to the ways that the existence of settler colonial infrastructure and architecture operates as material evidence of indigenous suffering. By attempting to reclaim the constructed spaces of colonialism through modes of socio-aesthetic intervention, I maintain that the work produced by indigenous graffiti writers and street artists unfold productive strategies of decolonization. My analysis raises questions about the radical potential of indigenous graffiti and street art to delegitimize oppressive social conditions inflicted upon indigenous people by colonial powers.
Bookmarks Related papers MentionsView impact
Public Art in South Africa: Bronze Warriors and Plastic Presidents, 2017
How does South Africa deal with public art from its years of colonialism and apartheid? How do ne... more How does South Africa deal with public art from its years of colonialism and apartheid? How do new monuments address fraught histories and commemorate heroes of the struggle? Across South Africa, statues commemorating figures such as Cecil Rhodes have provoked heated protests, while new works commemorating icons of the liberation struggle have also sometimes proved contentious. In this lively volume, Kim Miller, Brenda Schmahmann and an international group of contributors explore how works in the public domain in South Africa serve as a forum in which important debates about race, gender, identity and nationhood play out. Examining statues and memorials as well as performance, billboards, and other temporal modes of communication, the authors of these essays consider the implications of not only the exposure, but also erasure of events and icons from the public domain. Revealing how public visual expressions articulate histories and memories, they explore how such works may serve as a forum in which tensions surrounding race, gender, identity, or nationhood play out.
Bookmarks Related papers MentionsView impact
Journal of Indentureship and its Legacies, Jul 4, 2023
Andil Gosine’s participant-driven performance Cane Portraiture aestheticizes the social history o... more Andil Gosine’s participant-driven performance Cane Portraiture aestheticizes the social history of indentured labourers in the Caribbean. The work expands the field of relations surrounding the discourse of ‘coolitude’ – the dissemination of Indian labour during the 19th century – by redressing the ‘coolie odyssey’. By doing so, Gosine suggests that the pathos of displacement produced by the 'coolie odyssey' moves through generations of the Caribbean diaspora. In an attempt to define and reconcile this tension, Cane Portraiture attempts to locate a renewed sense of place and of ‘home’. For Gosine, then, the conceptualization of 'home' is approached as an embodiment of a person or site that is shared with others.
This article was originally published in issue 36.3 (2019) of Blackflash Magazine.
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Canadian Journal of Native Studies, 2020
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Afterimage: The Journal of Media Arts and Cultural Criticism, 2019
This article examines how contemporary artists respond to the technique of hydraulic fracturing, ... more This article examines how contemporary artists respond to the technique of hydraulic fracturing, more commonly known as “fracking.” Drawing on examples of political protest and social activism, with special focus on the ways that artistic interventions challenge energy corporations in galleries and museums, Smith analyzes how artists fuse concerns over the environment with critical aesthetics. By doing so, they explore the problematic relationships between fracking and climate change, waste, environmental degradation, pollution, and public health. In the wake of new data, research, and dissent, it is argued that contemporary art visualizes protest and continues to play a role in picturing the potentially harmful effects of fracking. Accordingly, Smith proposes that artists formulate innovative ways to confront an authoritative fuel industry and translate key issues into new modes of understanding.
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Afterimage: The Journal of Media Arts and Cultural Criticism, Oct 2015
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Yishu: Journal of Contemporary Chinese Art, Jul 2015
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Biography: An Interdisciplinary Quarterly, 2015
This paper argues that autobiographical video art radically transforms intersubjective relationsh... more This paper argues that autobiographical video art radically transforms intersubjective relationships with viewers, and in doing so deconstructs critical spectatorship by positioning the viewer as an interlocutor. Here I draw attention to the work of visual artists Lisa Steele, Colin Campbell, Peter Kingstone, and Irene Loughlin who help to reconceptualize the interlocutor subject position by using unorthodox transmedial aesthetic strategies.
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Reconstruction: Studies in Contemporary Culture, Apr 1, 2015
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Reconstruction: Studies in Contemporary Culture, Apr 1, 2015
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Journal of Curatorial Studies, Mar 2015
Amateur artists and artist-professionals recreate and upload intermedial artworks by visual artis... more Amateur artists and artist-professionals recreate and upload intermedial artworks by visual artists Bas Jan Ader, Lisa Steele, and Vito Acconci to proprietary social media such as YouTube and Vimeo. What does this impulse signify? On the one hand, our “culture of confession,” facilitates narcissistic social expressions that leach into the digi-cultural sphere. On the other hand, late capitalism threatens the fragile singularity of the individual. Consequently, the way that people understand others has changed, and thus the knowledge generated from the original artwork may no longer be enough—it must be embodied and re-produced to fully understand and value its meaning. Drawing on the writings of Philip Lejeune, Chloe Taylor, and Nancy K. Miller, I argue that the impulse towards recreating and “sharing” artwork online characterizes a desire to better understand the self through the artist’s artwork, and produce intersubjective viewing encounters with others.
Bookmarks Related papers MentionsView impact
Studies in Visual Arts and Communication, 2014
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Senses and Society, 2014
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Yishu: Journal of Contemporary Chinese Art, Jul 2014
Since his exhibition We Buy White Albums at New York City’s Recess Gallery in 2013, Houston-born ... more Since his exhibition We Buy White Albums at New York City’s Recess Gallery in 2013, Houston-born artist Rutherford Chang has garnered international media attention, appearing in such publications as the New York Times and the Guardian. We Buy White Albums is a collection and display of now 944 copies of The Beatles’s seminal 1968 White Album, which was designed by the English pop artist Richard Hamilton. Although Chang’s name is now synonymous with We Buy White Albums, this work certainly does not define his rich and expanding body of work. Chang continues to examine the crossovers between China and North America, drawing his attention to how and why cultural appropriation operates. I had the opportunity to discuss this and other areas of interest with Chang.
Bookmarks Related papers MentionsView impact
The Senses and Society, 2014
Canadian artist Bill Burns’s recent opus “Dogs and Boats and Airplanes” represents a profound imm... more Canadian artist Bill Burns’s recent opus “Dogs and Boats and Airplanes” represents a profound immersion in the iconography of travel and the sophisticated commercial industry which enables it. The project is both multi-sensorial in its focus on object inter- actions, and interdisciplinary in that it engages cinematic appropriation, quotidian social phenomena, and commu- nity participation. Comprised of drawings, a photographic series, a photo book, a postcard book, a collection of salt and pepper shakers, a vinyl album, a video and a print series, this heterogeneous body of work has been widely exhibited during various stages of development though it has yet to be presented together in its entirety. In effect, “Dogs and Boats and Airplanes” engages with animal and mechanical interactions in the post-industrial world largely by way of tactile, relational, and sonic encounters. Burns’s preoccupation with a central theme – in this case, dogs, boats, and airplanes – and dili- gent accumulation of images and objects pays homage to Dadaist strategies of incongruence and absurdity to question how seemingly unrelated elements cultivate new aesthetic vocabularies.
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Afterimage: Journal of Media Arts and Criticism
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SHIFT: Queens Graduate Journal of Visual and Material Culture, 2009
George Ferzoco, chair of the Centre for Tuscan Studies at the University of Leicester, is one of ... more George Ferzoco, chair of the Centre for Tuscan Studies at the University of Leicester, is one of the first scholars to present and publish his preliminary findings on the Mural. In response, scholars have been sluggish to take critical issue with Ferzoco’s explication of the Mural’s formal elements, disparate influences, and candid political spirit. The objective of this essay is to systematically deconstruct Ferzoco’s (previously) undisputed analysis of the Mural and its related elements in order to develop a deeper, more precise reading, while opening new lines of flight.
As a methodology, I intend to scrutinize individual facets of the Mural and to construct my argument within the logical framework of descriptive headings. It is not my aim to fully dismiss or impugn Dr. Ferzoco’s findings but merely to challenge his convictions and engage, or commence, a sustainable dialogue of critical debate to which others may enrol as they wish.
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First American Art Magazine, 2024
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First American Art Magazine, 2025
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First American Art Magazine, 2024
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Border Crossings, 2024
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First American Art Magazine, 2023
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Studio Magazine, 2023
Santhony Pottery is a pottery studio based on Six Nations of the Grand River and operated by Judi... more Santhony Pottery is a pottery studio based on Six Nations of the Grand River and operated by Judi and Cindy Henhawk. Their work resides in the collections of the Royal Ontario Museum in Toronto, the Museum of Archeology in London, UK, and the Iroquois Museum in New York.
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Canada's History
Doris Mildred Titus (nee Slater) was born outside Chatham, Ontario in 1917. She attended the Onta... more Doris Mildred Titus (nee Slater) was born outside Chatham, Ontario in 1917. She attended the Ontario College of Art (now OCAD University) on scholarship and focused on commercial art, later graduating in 1939. In 1941, she began illustrating comic books for Anglo-American Publications. The drawings for her first comic, “Penny’s Diary,” made her the first woman comic book artist in Canada. In 1954, Titus moved to Brantford, Ontario and was hired as an art teacher at Brantford Collegiate Institute. During this time, she founded the Sketch Club at Glenhyrst Gardens (now Glenhyrst Art Gallery), participated in exhibitions, and befriended artist Toni Onley. Her experiments with abstract painting led to the use of unconventional mediums like her own bathwater. Titus left Brantford for Ottawa in 1960 to teach at the Ottawa High School of Commerce. Tragically, she died in an automobile accident in June, 1964 at the age of 47. For her contributions to the Canadian comic book industry, she was inducted into the Shuster Awards Hall of Fame for Canadian comic book creators in 2015. Her work resides in several private collections in Canada and England, and in the permanent collection of Glenhyrst Art Gallery.
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Blackflash Magazine, 2023
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First American Art Magazine, 2021
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Briarpatch Magazine, May 3, 2021
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First American Art Magazine, 2021
Revised and reprinted with permission from the essay “Other Places, Outer Spaces” originally publ... more Revised and reprinted with permission from the essay “Other Places, Outer Spaces” originally published in Skawennati: From Skyworld to Cyberspace, exhibition catalogue (London, ON: McIntosh Gallery, 2019).
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First American Art Magazine, 2021
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Centred.ca, 2020
Curators and other cultural workers are seldom tasked with reflecting on previous exhibitions or ... more Curators and other cultural workers are seldom tasked with reflecting on previous exhibitions or projects that they’ve organized. I assume it’s because most of our programming exists in the intangible future. By this I mean that we labour today so that we can ultimately forecast the outcome of events months and years down the road. I believe that most curators have made peace with the unknowable future.
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First American Art Magazine, 2020
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Blackflash Magazine, 2019
Andil Gosine’s "Cane Portraiture" emerges from a set of conditions that aestheticizes the social ... more Andil Gosine’s "Cane Portraiture" emerges from a set of conditions that aestheticizes the social history of indentured labourers in the Caribbean through participant-driven performances. The selection of sugar cane for the backdrop in these performances functions as an indexical reference to the cultural memory of Caribbean diaspora. It also emphasizes sugar’s problematic relationship to the history of indenture.
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First American Art Magazine, 2018
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Inuit Art Quarterly, 2018
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First American Art Magazine, 2017
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First American Art Magazine
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PREFIX Photo, Sep 2017
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Jeanette Obbink: In the Hidden Mundane, Jul 2024
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Arnold Jacobs: The Power of the Feather, 2024
Arnold Jacobs (b. 1942) is an Onondaga (Turtle Clan) artist and former condoled confederacy chief... more Arnold Jacobs (b. 1942) is an Onondaga (Turtle Clan) artist and former condoled confederacy chief living on Six Nations of the Grand River territory. He graduated from the studio art and design training program at Central Tech in Toronto in 1966. Jacobs was later employed as a commercial artist for W. L. Griffin Printing in Hamilton for fourteen years. In 1984, he opened a commercial art gallery in his home before launching Two Turtles Gallery in Ohsweken, which sold his original artwork and promoted emerging Six Nations artists.
Jacobs is recognised for applying historical Haudenosaunee teachings to his commercial work, pendant jewellery, prints, paintings, and sculpture. He remains committed to empowering Indigenous youth through visual art and sharing Six Nations cultural practices with the world. From 2001 to 2008, his award-winning “flying eagle” design was embossed on Air Canada’s Boeing 767 jet, and in 2019 he was awarded the Ontario Arts Council’s Indigenous Arts Award. Jacobs’s work resides in private and public art collections in Canada and the United States including the Smithsonian Institution (Washington, DC), Iroquois Museum (Howes Cave, NY), Canadian Museum of History (Hull, QC), and Woodland Cultural Centre (Brantford, ON).
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Matt Bahen: Coming Down the Mountain, 2024
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James Gardner: Here To Go, 2024
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The Blue Afar, 2024
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Humble Folk: Barbara Clark-Fleming and Lucy Ogletree, Sep 2023
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Santhony Pottery: Into the Fire (exhibition brochure), Jul 29, 2023
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Waddington's Spring Fine Art Auction, 2023
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Waddington's Spring Fine Art Auction, 2023
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Waddington's Spring Fine Art Auction, 2023
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To Piece Together (exhibition brochure), Jan 2023
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Drawn from Wood (Exhibition Catalogue), 2022
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In My Dreams (exhibition brochure), 2022
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The Uncanny Valley, 2022
Brochure for the exhibition "Matt Bahen: There is Something in the Valley"
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Unnatural Order (Exhibition Brochure), 2022
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Doris Slater Titus - Retrospective, 1941-1964, 2021
Doris Mildred Titus (nee Slater) was born outside Chatham, Ontario in 1917. She attended the Onta... more Doris Mildred Titus (nee Slater) was born outside Chatham, Ontario in 1917. She attended the Ontario College of Art (now OCAD University) on scholarship and focused on commercial art, later graduating in 1939. In 1941, she began illustrating comic books for Anglo-American Publications. The drawings for her first comic, “Penny’s Diary,” made her the first woman comic book artist in Canada. In 1954, Titus moved to Brantford, Ontario and was hired as an art teacher at Brantford Collegiate Institute. During this time, she founded the Sketch Club at Glenhyrst Gardens (now Glenhyrst Art Gallery), participated in exhibitions, and befriended artist Toni Onley. Her experiments with abstract painting led to the use of unconventional mediums like her own bathwater. Titus left Brantford for Ottawa in 1960 to teach at the Ottawa High School of Commerce. Tragically, she died in an automobile accident in June, 1964 at the age of 47. For her contributions to the Canadian comic book industry, she was inducted into the Shuster Awards Hall of Fame for Canadian comic book creators in 2015. Her work resides in several private collections in Canada and England, and in the permanent collection of Glenhyrst Art Gallery.
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Quinn Smallboy: String Theory, 2021
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In the soft ether of Joseph Sanchez’s paintings, one discovers his empathy for Mother Earth and a... more In the soft ether of Joseph Sanchez’s paintings, one discovers his empathy for Mother Earth and affinity with the spirits of his ancestors. These close relationships are navigated through the philosophy of Surrealism, by its hypersensitivity to everyday reality stretched and perforated beyond reason or logic. His work shows us the oscillation between states of being and knowing. Surrealism has mapped the trajectory of his artistic practice for many decades, gracing the surfaces of his canvas or paper with supernatural entities and divine light. The strange and unpredictable iconography articulated in Sanchez’s paintings capture his descent into the liminal state between the physical world and the spiritual plane. Sanchez is Starseed. Lightning struck. A dreamer.
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Paul Kneale: Recycling, 2020
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Waddington's Canadian Fine Art Auction, 2020
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Reconstruction: Studies in Contemporary Culture, Apr 1, 2015
“Unorthodox Autobiographies” is intended to challenge conventional discourses of autobiographical... more “Unorthodox Autobiographies” is intended to challenge conventional discourses of autobiographical studies by rupturing its narrow definitions, and thus opening it up to new lines of flight and states of inquiry. We aim to provide a scholarly venue for papers that would not rest comfortably in other, more traditional, scholarly publications. This issue of Art History Supplement is specifically intended to contribute to the growing discipline of autobiography, a typically literary-based disciplinary field of knowledge, in the visual sphere.
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Venue: a digital journal of the Midwest Art History Society, 2024
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Afterimage: The Journal of Media Arts and Cultural Criticism, 2024
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Canadian Journal of Native Studies, 2024
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Journal of Curatorial Studies, 2024
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First American Art Magazine, 2017
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Canadian Journal of Film Studies, 2015
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Intersections: Canadian Journal of Music, 2014
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TOPIA: Canadian Journal of Cultural Studies, 2014
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Canadian Journal of Native Studies
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WRECK: University of British Columbia Graduate Art History, Visual Art & Theory, 2013
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The Canadian Encyclopedia, 2024
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The Canadian Encyclopaedia , 2023
Six Nations of the Grand River in Southern Ontario is the largest reserve community by population... more Six Nations of the Grand River in Southern Ontario is the largest reserve community by population in Canada. It is the location for one of Canada’s largest cultural revitalization movements. During the mid-20th century, artist Elda “Bun” Smith began collecting pottery shards that she found throughout Six Nations. With the assistance of potter Tessa Kidick, Smith and other local potters helped to revitalise pottery on Six Nations. They influenced future generations of artists. Six Nations pottery is now one of the most collected ceramics in Canada. It features in gallery and museum collections around the world.
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Routledge Encyclopaedia of Modernism, 2015
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