Native American Indian Art in Magicians of the Earth
7: Professional Native Indian Artists Inc.
21 September 2013 – 12 January 2014
seven: Professional Native Indian Artists Inc.
September 21, 2013 – Jan 12, 2014
Opening Commemoration
Fri, September twenty, 2013 at 7:30 pm | Free Admission | Greenbacks Bar
Special guests artists Alex Janvier and Joseph Sanchez, along with the exhibition curator Michelle LaVallee, were in attendance for the outcome.
nineteen-yr-onetime Jackson Beardy Iii, grandson of the tardily Jackson Beardy, performed a hoop dance and pulsate performance.
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A Chat with Alex Janvier and Joseph Sanchez
Saturday, September 21, 2013 at 2:00 pm | Free Admission
A discussion with artists Alex Janvier and Joseph Sanchez, along with the exhibition curator, Michelle LaVallee.
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7 offers diverse audiences from the many nations across Canada an unparalleled opportunity to capeesh and engage with the work by one of Canada'southward near of import early creative person alliances—the Professional Native Indian Artists Incorporated (PNIAI).
This Group of Seven was a ground-breaking cultural and political entity that cocky-organized to demand recognition as professional, contemporary artists, to challenge old constructs, and to stimulate a new way of thinking about gimmicky Start Nations people, their lives and art. Gathering informally at get-go in the early on 1970s, Jackson Beardy (1944-1984), Eddy Cobiness (1933-1996), Alex Janvier (b. 1935), Norval Morrisseau (1932-2007), Daphne Odjig (b. 1919), Carl Ray (1942-1978) and Joseph Sanchez (b. 1948) formed this influential and historical group.
Drawing on both private and public collections the exhibition brings together 120 works including those featured in formative exhibitions of the Grouping forth with a number of recently uncovered masterworks of the period that take non been publicly attainable for quite some fourth dimension. Significant works by each member are showcased demonstrating their distinctive styles and experimentations. The option serves to claiming the myth that PNIAI members participated in a unified "Woodland manner," besides, to substantiate the avant-gardism of the Group. The exhibition seeks to accolade their efforts and recognize the contributions of these vii artists to the history of Kickoff Nations aesthetic product and to the history of art on Turtle Island.
Narratives collected from members of the group and their contemporaries will further inform the exhibition through didactic materials, catalogue text and audiovisual materials. While the showroom both records and celebrates this history, the exhibition will also investigate this rich legacy and demonstrate how their impact continues to resonate in relation to Ethnic and Non-Indigenous contemporary art practices.
Professional person Native Indian Artists Inc.
The seven artists of the PNIAI came together in guild to collectively fight for the inclusion of their work within the Canadian mainstream and the gimmicky art canon. Situated within a contentious political context, including the Liberal government's controversial Indian policy of 1969, the PNIAI were resistant to colonial discourses and broke with identity definitions and boundaries imposed on First Nations. Disenchanted with the Department of Indian Affairs and Northern Development'south marketing and promotion strategies, they fought against exclusionary practices which treated their work as a type of handicraft, a categorization which prevented information technology from beingness shown in mainstream galleries and museums. These artists were among the first to fight to establish a long-overdue forum for the voices and perspectives of Indigenous artists: In many ways, the forrard thinking of these pivotal artists led to the development and credence of an Indigenous art discourse and the recognition of Indigenous artists as a vital part of Canada's by, present and futurity identity. By fearlessly portraying the reality of Canada from a First Nations perspective, they expanded the vocabulary of contemporary visual art do and gear up a new standard for the artists who followed in their wake. Reaching across cultural boundaries, their lasting creative merit continues to be a source of inspiration for generations to come.
Breaking Barriers
The concluding time in that location was a anniversary in our ring was when I was about vi years one-time. It was a drupe festival that was being held in a birch bawl club. The whole village was in that location and the priest came and told united states to terminate the berry festival. The priest understands now, merely it is also late. The ceremony is gone. – Carl Ray
While the Group developed primarily in response to the lack of opportunities for gimmicky Indigenous artists, an sensation of the pervasive attitudes and oppressive regimes that controlled the lives of Starting time Nation individuals is primal to understanding the barriers they faced. PNIAI members experienced many of the cultural and political policies that conditioned the daily experience of Commencement Nations people, relegating them to secondary status. At the same time, at that place was an unyielding desire among Ethnic people to accept their voices heard and to ensure a continuation of their cultural practices. The repressive social, political, and cultural contexts in Canada at the time provoked a strong resistance amongst artists and activists alike. The impact of the growing social and cultural motility is evident in the work of the PNIAI.
Information technology has become my deep, personal life goal to create an awareness of our culture within the public at big – thereby cementing stronger ties of mutual understanding for one country, one Canada. – Jackson Beardy
Though their personal aspirations were various, as frontrunners in the early developments of gimmicky Starting time Nations fine art history, the collective vision of the PNIAI made contemporary Indigenous art possible. Constantly belittled, Indigenous people were faced with 2 options-to accept an inferior position, or rebel against oppressive weather condition. Cocky-determination and self-definition were at the centre of PNIAI motivations. Their works provide a window upon this vision, encouraging united states of america to recall about the forces that shape our lives and how nosotros want to shape our future together.
Creation of the Group of Seven
Nosotros had no i to show our work so we had to do it ourselves. We acknowledged and supported each other as artists when the world of fine art refused us entry…Together nosotros broke downwardly barriers that would have been then much more than difficult faced solitary. – Daphne Odjig
In 1971, Daphne Odjig and her husband Chester Beavon opened a small craft store, Odjig Indian Prints of Canada Ltd. located at 331 Donald Street in Winnipeg, Manitoba. As a gathering place, the store brought together artists who had previously worked in isolation from each other as well equally the Indigenous art scenes in Ottawa and Toronto. "Odjig'due south" as information technology was ordinarily referred to, offered a friendly place for artists to receive support and to discuss their challenges and aspirations. The store was a success and was expanded in 1974, establishing the New Warehouse Gallery.
By 1972, a group of artists had formed and began to call themselves the "Group of Seven." They usually met at the North Star Inn or at Odjig's where they shared their frustrations with the Canadian art establishment, grappled with prejudice, discussed aesthetics, and critiqued one another's art. In Nov 1973, these seven artists developed a proposal to formalize their organization into the Professional Native Indian Artists Incorporated (PNIAI). An application was submitted on March 14, 1974. The Group was legally incorporated on April 1, 1975 under the name Anisinabe Professional Native Indian Artists Inc., though they connected to exhibit under the moniker PNIAI.
The struggle for mainstream acceptance seemed a constant battle which pitted the artists against government programs, a non-Native public's expectations, and government supported institutions that wanted art that reflected "Indianness" in style and content. Mostly, their work was relegated to commercial and ethno-centric galleries, cultural centres and museums, and hallways and offices, rather than contemporary fine fine art galleries where they felt they belonged. Members of the Group wanted to create space for gimmicky artists of Native ancestry to receive support. Odjig's provided opportunities to exhibit work and became the place to engage with other artists.
In improver to providing support to i some other in their artistic endeavours, the Group's early aims included a plan to develop a scholarship program to assist emerging artists. The PNIAI were also concerned with exclusionary practices in the fine art world, copyright issues, marketing strategies, and control over product of their work. Members were interested in expanding their horizons equally artists rather than succumbing to a pre-packaged narrow definition of "Indian" art and double standards around authenticity.
Interacting with others who shared similar experiences and civilization was both stimulating and advantageous for the PNIAI members. The esprit and friendship that adult helped them to navigate territory that had been difficult to traverse on their own. Whereas one vocalisation had limits to what it could say, several artists' voices combined created a richly diverse and powerful argument. Working together gave them a force and unity that caught the attention of media and brought a contemporary epitome of First Nations fine art to the forefront.
"A New Linguistic communication Art"
The 7 artists of the PNIAI often drew on the legacy of their ancestors for inspiration. In doing and so, they visually translated a world of knowledge based on oral tradition, individual experience, and cultural heritage. While the intention behind the artworks varies from creative person to artist, each member developed their iconography to build upon this cultural inheritance. As creative person Colleen Cutschall has observed, "each generation of artists adjusts to the data that precedes it, brings new ideas into discussion, and responds to the current political milieu."
The key objectives of the Group were based on a shared concern with Indigenous philosophies, worldviews, and aesthetics. While interpretations were individually subjective and sometimes nation specific, the work produced by these seven artists was unquestionably non-European. To borrow a phrase from Robert Houle, the work was part of a "new language art," an extension of an oral tradition via visual art. While forms, styles, and techniques varied amidst PNIAI members, the anatomy of this new language–their aesthetic conventions–were all truly innovative.
A commitment to nationhood and ancestry is evident throughout the PNIAI members' oeuvres, despite the oppressive climate in which they were created. Their visual interpretations communicate a connection to a dynamic culture that is alive and well. Shirley Madill articulates it best in Jackson Beardy: A Life'south Work:
Spirits, heroes, animals and references to natural elements in various stages of transformation are not simply "stories." They express the logic proper to a culture and its social and moral organisation through images and words taken from the community's surround and experience. These works not only demonstrate the permanence of traditional [Indigenous] culture, only also reveal the presence of living, creative sources that, firmly rooted in the multi-cultured earth of today, open the way to a more understanding globe tomorrow. (1993)
The subject matter explored past the PNIAI members is diverse, with content that is anecdotal, humorous, spiritual, and political. Some of the work is personal in nature and is based on biographical narratives and everyday life. Other work takes on social problems related to history, government and ecology. Still other works turn to legends and the supernatural for inspiration to articulate spiritual beliefs and to empathise dualities and disharmonize.
The PNIAI were frontrunners in shaping Starting time Nations aesthetic product. In recording Indigenous histories, they contributed to the revitalization of Outset Nations culture. The PNIAI assert and reveal the gimmicky relevance of Indigenous peoples, ideologies and cultures, and continue to inspire electric current and hereafter generations.
Storytelling: History and Narrative
Art is not a substitute for oral storytelling,but another ways to describe and explain reality. As Alex Janvier has said, "this is my fashion of speaking to the public…my visual language…to convey what'due south inside my spirit."
The concept of narrative–sending messages, telling stories, documenting histories, or relating everyday experiences–permeates the showroom. The artist is Storyteller. Adventures are recounted, conflicts described, and experiences with government and church recorded. Stories are reanimated through their work and linked to the experiences of individuals and histories of communities.
The artworks included hither record moments from our shared histories for contemplation and remembrance. Few paintings portray a complete narrative, whether literal or symbolic. Notwithstanding, their statements always appoint larger concerns with culture and humanity.
Storytelling: Supernatural Beings and the Spirit Earth
I paint what I believe. What is secret I don't paint. I can't paint annihilation if I don't have the groundwork and the cultural noesis to make information technology right. It wouldn't be fair to my people and it wouldn't be off-white to the rest of Canada. – Jackson Beardy
Indigenous cultural traditions have a long and continuous history in North America. PNIAI members sought to reconnect with these traditions through the myths and narratives of their various nations. These distinctly non-western stories instruct united states of america how to act in the world and interact with the myriad of beings effectually us. The stories provide moral lessons about life in this land. The narrative legends presented here are not appropriations of the sacred, just as art historian and artist Sherry Farrell Racette affirms, "a powerful reclaiming of an ancient form of visual storytelling…created by previous generations." (Sherry Farrell Racette, "Algonkian Pictographic Imagery," Selected Proceedings of Witness: A Symposium on the Woodland School of Painters, 2009).
Prominent among the depictions of the PNIAI are diverse manitous. Author Basil Johnston explains that manitous are beings or forces fused into physical bodies or objects. These unseen beings are oft beyond the world, while others alive with human beings and creatures.
The Thunderbird is a cross-cultural figure prevalent in many First Nations mythologies and narratives. "Of all the manitous who presided over the destinies and affairs of humankind, none [is] more than revered for its potency and preeminence than was the thunderbird" (Basil Johnston, The Manitous: the supernatural world of the Ojibway, 1995). Thunderbirds represent the powers of the heaven, producing thunder by flapping their wings and lightning past opening and endmost their optics. Johnston tells us that Thunderbird was "created to tend to Mother Earth's health and well-existence, to give her beverage when she is thirsty, to cleanse her form and her garments when she needs refreshment, to keep her fertile an fruitful, and to stoke fires to regenerate the forests. From early jump to late fall, the thunderbirds were vigilant…and in winter, they rested." Many members of the PNIAI have been inspired by the Thunderbird, but depictions vary as they reverberate each artist'southward interpretation of the great beingness and its ability.
Storytelling: Personal Narrative
Perhaps the mot common kind of storytelling occurs at the kitchen tabular array or in the living room, around a burn, on the road, or in a coffee store. When nosotros get together with family or friends, this personal type of storytelling enriches interactions and maintains connections. The stories can be humorous, emotional, dramatic or mundane but everyone has a story to exist told, whether tales of adventure, memories from youth, or moments with close friends.
There are historical precedents for this type of narrative. In nearly Commencement Nations cultures, pictographs were used not only for sacred or spiritual purposes, but also "to leave messages, tell stories, and document everyday experiences" (Racette).
Many of the works in the exhibition are personal in nature. Through storytelling, nosotros are offered a glimpse into the feel of the seven artists of the PNIAI. Field of study affair may reverberate biographical narratives, reference dreams and visions, or relate everyday stories from the lives of the artists.
Spirituality & Ceremony
Spirituality and ceremony is a theme found in the works of many of the PNIAI members. Tradition, ceremonial practices and spiritual behavior give form to Indigenous worldviews and shape the experience and perception of the world. For each creative person, spirituality is a personal and communal journey. They accept each embraced and engaged with the traditions of their own communities in varying means.
Several of these images reflect the artist's interest in keeping traditions alive and a desire to reveal the contemporary relevance of traditional ways. The artworks mirror personal experience; what nosotros meet is what the artist has called to share with us almost their spiritual journey and their experience with various ceremonies. Other works explore connections between belief systems or consider the influence of traditions outside their own.
Duality & Disharmonize
Seeking balance and understanding the origins of conflict within our everyday lives is a reoccurring theme in the works of PNIAI members. This section of the exhibition features piece of work past Daphne Odjig, Norval Morrisseau, Alex Janvier, Jackson Beardy and Joseph Sanchez that explore inner turmoil, and reverberate on the personal or cultural imbalance experienced by the artists.
The disharmonize between good and evil is a concept common to all religions and one which reaches beyond cultural boundaries. This age quondam duality is a theme explored by Odjig, Morrisseau, Ray and Sanchez in a continued effort to understand the forces that shape the world nosotros alive in. The polarities of skillful and evil take shape in beings that are connected with the forces of the universe, but they are also manifest in the physical world in the lives and circumstances of individuals.
The Natural Word & Everyday
Indigenous globe views include an understanding of our inherent connection to the land and other non-homo beings. These works are a reminder of this relationship. Surrounded past storied landscapes, the PNIAI artists describe from their memories and experiences of state, nature, and community. Complex worlds beyond our ain are revealed in individual impressions of mother world, the elements, and the flora and fauna of a honey territory. Richly layered with meaning and emotion, the artworks capture a perception of the world that encourages reflection on concepts of life, nature, and their inherent beauty.
7: Professional Native Indian Artists Inc., installation at the MacKenzie Art Gallery, 2013. Photograph: Don Hall.
7: Professional Native Indian Artists Inc. is organized by the MacKenzie Art Gallery. This project has been fabricated possible through a contribution from the Museums Assistance Plan, Section of Canadian Heritage. The MacKenzie receives ongoing back up from the Canada Council for the Arts, the Saskatchewan Arts Lath, SaskCulture, the Urban center of Regina, and the University of Regina.
seven: Professional Native Indian Artists Inc. catalogue wins 3 awards at the Saskatchewan Book Awards
Regina, SK – The MacKenzie Art Gallery is pleased to announce that 7: Professional Native Indian Artists Inc. received three awards for publishing at the Saskatchewan Book Awards on April 25, 2015, including the University of Regina Faculty of Pedagogy and Campion College Honor for Publishing in Education, the Kickoff Nations University of Canada Aboriginal Peoples' Publishing Award, and the Ministry of Park, Civilization and Sport Publishing Award. Read more…
Second Edition Available for Purchase now!
The award-winning catalogue 7: PNIAI is back in stock. Delight visit the MacKenzie Gallery Shop to buy your copy today.
Tour dates for this exhibition:
Winnipeg Art Gallery Winnipeg, MB May 9 to August 31, 2014
Kelowna Fine art Gallery Kelowna, BC October 11, 2014 to January four, 2015
McMichael Canadian Fine art Collection Kleinburg, ON May ten to September vii, 2015
Art Gallery of Windsor Windsor, ON October two, 2015 – Jan 17, 2016
jbeardy
Jackson Beardy (1944–1984) was built-in on the Garden Hill Reserve (Island Lake, Manitoba) and was of Cree beginnings. Beardy studied commercial fine art at the Winnipeg Vocational School (1963–64) and later took art classes at the University of Manitoba. Throughout his career, Beardy served equally a fellow member of numerous arts organizations, including: National Indian Art Council, Ottawa; Prison Arts Foundation, Ottawa; Manitoba Arts Council, Winnipeg; and Canadian Artists Representation / le Forepart des artistes canadiens (CARFAC). He also served as the president of the Canadian Indian Artists Association and was founder and president of Ningik Arts (1972). He is the recipient of the Canadian Centennial Medal (1967), the Junior Achievement Award (1974), and the Outstanding Immature Manitoban Laurels (1982).
Beardy has acted as art adviser and cultural consultant to the Manitoba Museum of Man and Nature (1971), the Department of Native Studies at Brandon University (1972), and the Department of Indian Affairs and Northern Development (now Aboriginal Diplomacy and Northern Development Canada) (1981). While at DIAND, he authored Indian Fine Arts: A Policy and Plan to guide the programming and collecting of the department. A noted volume illustrator, he was besides contracted by the department to record and illustrate the "legends of the people" while travelling throughout the Northward. His illustrations have been published in John Morgan'southward book, When the Morning Stars Sang Together (1974). Beardy also designed the cover art for two books: Leonard Peterson's Almighty Vocalisation (1976), and Basil Johnston'southward Ojibway Heritage (1976).
Image: Jackson Beardy, 1975
National Gallery of Canada Library and Athenaeum, Dominion Gallery Fonds
eddycobiness
Boil Cobiness (1933–1996) was born in Warroad, Minnesota and raised on Buffalo Point Reserve, Manitoba. Between 1954 and 1957, Cobiness served in the United States Ground forces, where he became a Golden Gloves boxer and continued to depict and sketch during his leisure time. In 1980, he served as chairman of the First Annual Great Peoples Confab in Sprague, Manitoba. He has also published his illustrations in two books: Alphonse Has an Blow (1974) and Tuktoyaktuk 2-3 (1975).
An Ojibway artist, Cobiness participated in several exhibitions as a fellow member of PNIAI throughout the 1970s, including: Canadian Indian Art '74, Royal Ontario Museum, Toronto (1974); Indian Art '75, Woodland Cultural Center, Brantford (1975); and Colours of Pride: Paintings past 7 Professional Native Artists / Fierté sur Toile, Dominion Gallery, Montreal (1975). His works have also been included in 2 recent group exhibitions: Frontrunners, co-organized past Winnipeg's Plug In Institute of Gimmicky Fine art and Urban Shaman Contemporary Art Gallery and Artist-Run Centre, Winnipeg (2011); and My Winnipeg: There's No Place Like Home, Plug In Institute of Gimmicky Fine art, Winnipeg (2012). His work is held in many prominent private collections worldwide including those of former Prime Minister Jean Chrétien, Queen Elizabeth II, and old Manitoba Premier Edward Schreyer. His work is found in several public collections, including: Canadian Museum of Civilization (QC); Section of Indian and Northern Affairs (ON); McMichael Canadian Art Collection (ON); Regal Ontario Museum (ON); and Woodland Cultural Eye (ON).
Image: Eddy Cobiness, 1975
National Gallery of Canada Library and Athenaeum, Dominion Gallery Fonds
alexjanvier
Alex Janvier (b. 1935) was born at Common cold Lake Start Nations, Alberta, and is of Dene Suline and Saulteaux heritage. In 1960, Janvier received his Fine Arts Diploma with Honours from the Alberta College of Fine art in Calgary, after which he worked as an art instructor at the University of Alberta (1961). Janvier was later hired as a cultural adviser to the Section of Indian and Northern Affairs (at present Aboriginal Affairs and Northern Development Canada) and helped to establish cultural policy for the Cultural Affairs Program (1965). He was besides appointed to the Ancient Advisory Committee for the Indians of Canada pavilion at Expo 67 in Montreal, where he painted a nine-pes circular mural titled Beaver Crossing Indian Colours.
Janvier has been the recipient of several honours over the years. These honours include Lifetime Achievement awards from the Tribal Chiefs Establish, Cold Lake First Nations (2001), and the National Aboriginal Achievement Foundation (2002); the Centennial Medal for outstanding service to the people and province of Alberta (2005); the Lodge of Canada (2007); the Governor General's Award in Visual and Media Arts (2008); the Alberta Foundation for the Arts Marion Nicoll Visual Arts Honor (2008); the Alberta Order of Excellence (2010); and the Queen Elizabeth Ii Diamond Jubilee Medal (2013). Janvier has also received honorary doctorates from the University of Alberta (2008), the University of Calgary (2008), and Blueish Quills Commencement Nations College (2012).
Image: Alex Janvier, 1975
National Gallery of Canada Library and Archives, Rule Gallery Fonds
nmorrisseau
Norval Morrisseau (1932–2007) was raised on the Sand Point Reserve near Lake Nipigon and was of Ojibwa descent. Since his first solo exhibition at the Pollock Gallery, Toronto, in 1962, Morrisseau'due south career has been marked by firsts. He was the only painter from Canada invited to exhibit in the Magiciens de la Terre / Magicians of the Earth exhibition at Centre Georges Pompidou in Paris (1989), and he was the kickoff artist of Get-go Nations descent to have a retrospective exhibition at the National Gallery of Canada, Ottawa (2006). A recipient of numerous awards and honours in his lifetime, Morrisseau received the Canadian Centennial Medal (1968), was elected to the Royal Canadian Academy of Art (1973), and was inducted into the Gild of Canada (1978). In 1980, he was awarded an honorary doctorate past McMaster University. He was acknowledged equally Grand Shaman of the Ojibway in Thunder Bay (1986) and honoured past the Assembly of First Nations Chiefs Conference in Ottawa (1995).
Morrisseau was among the artists selected to participate in the Indians of Canada pavilion at Expo 67 in Montreal, Quebec, and was a founding fellow member of the Professional Native Indian Artists Inc. In 1971, Norval Morrisseau and young man PNIAI member Carl Ray toured reserves and communities of Northern Ontario equally part of a federally sponsored Northern Fine art Tour (1971–72). He was likewise featured in the National Film Board of Canada'south documentary The Colours of Pride (1973) with Alex Janvier and Daphne Odjig. In 1974, a documentary titled The Paradox of Norval Morrisseau was released by the National Pic Board of Canada. Morrisseau wrote and illustrated Legends of My People, The Great Ojibway (1965) and co-authored Norval Morrisseau: Travels to the Firm of Invention (1997).
Prototype: Norval Morrisseau, 1975
National Gallery of Canada Library and Archives, Dominion Gallery Fonds
daphneodjig
Daphne Odjig (1919 – 2016) was built-in on Wikwemikong (Manitoulin Isle) and is of Potawatomi and Odawa heritage. Odjig was admitted to the British Columbia Federation of Artists in 1963, and in 1970 she established Odjig Indian Prints of Canada Limited in Winnipeg. She served every bit a member of the lath and instructor for the Manitou Arts Foundation on Schreiber Island, Ontario (1971). In 1973, Odjig received a Swedish Brucebo Foundation Scholarship and travelled as a resident artist to Sweden. Odjig has been the recipient of several awards and honours, including: the Canadian Argent Jubilee Medal (1977); an Eagle Feather on behalf of the Wikwemikong Reserve in recognition of her creative achievement, an honour previously reserved for men (1978); the Society of Canada (1986); the National Aboriginal Achievement Award (1998); the Commemorative Gilded Jubilee Medal (2002); the Gild of British Columbia (2007); and the Governor General's Award in Visual and Media Arts (2007). She has been awarded honorary doctorates by Laurentian University, Sudbury (1982), University of Toronto (1985), Nipissing University, Due north Bay (1996), Okanagan Academy Higher, Kelowna (2002), Thompson Rivers University, Kamloops (2007), Ontario College of Art and Design, Toronto (2008), Academy of Western Ontario, London, Ontario (2008), and Algoma University, Sault Ste. Marie (2011). Odjig has been an honorary lath fellow member of the Canadian Heritage Foundation (1988–93) and is an elected member of the Royal Canadian Academy of Art (1989).
In 1971, Odjig opened a small arts and crafts store in Winnipeg. This craft store was expanded in 1974 to create the New Warehouse Gallery, the commencement gallery owned and operated past a person of Indigenous heritage in Canada. Two feature documentaries accept been produced about Odjig's life and work: Colours of Pride (1973) and The Life and Work of Daphne Odjig (2008). Odjig has written and illustrated a series of school readers, Nanabush Tales (1971), which are still included equally part of the curriculum in elementary schools on Manitoulin Island.
Image: Daphne Odjig, 1975
National Gallery of Canada Library and Archives, Rule Gallery Fonds
carlray
Carl Ray (1943–1978) was born on the Sandy Lake Reserve, Ontario, and was of Cree heritage. Ray completed commissioned work (aslope Norval Morrisseau) for the Indians of Canada pavilion at Expo 67, later receiving grants from the Canada Council (1969) and the Department of Health and Welfare, Indian Affairs Co-operative (1971). In 1971, Ray was an instructor at the Manitou Arts Foundation's summer fine art camps at Schreiber Island (ON) and editor of the Kitiwin newspaper in Sandy Lake (ON). The Regime of Ontario and the Department of Indian and Northern Diplomacy (now Aboriginal Affairs and Northern Evolution Canada) sponsored the Northern Fine art Bout (1971–72), in which Ray and Norval Morrisseau toured through reserves and communities of Northern Ontario. Ray illustrated James Stevens' book, Sacred Legends of the Sandy Lake Cree (1971), and too illustrated the comprehend of Tom Marshall'due south book The White Urban center (1976).
Ray has had solo exhibitions at Brandon University, Manitoba (1969); Confederation College, Thunder Bay (1970); Aggregation Gallery, Toronto (1972–77); Galerie Fore, Winnipeg (1972); and the University of Minnesota, Minneapolis (1972). His work has besides been displayed in a number of group exhibitions with other PNIAI members, including two exhibitions at the Thunder Bay Art Gallery: The Art of the Anishnabe (1993) and H2o, Earth and Air (1997). Other group exhibitions include: Canadian Indian Art '74, Royal Ontario Museum, Toronto (1974); Indian Fine art '75, Woodland Indian Cultural Education Centre, Brantford (1975); Colours of Pride: Paintings past Seven Professional Native Artists / Fierté sur Toile, Dominion Gallery, Montreal (1975); Contemporary Native Art of Canada — The Woodland Indians, Royal Ontario Museum, Toronto (1976); Gimmicky Indian Art — The Trail from the Past to the Hereafter, Trent University, Peterborough (1977); and Gimmicky Indian Art at Rideau Hall, Department of Indian and North Affairs, Ottawa (1983). His work is held in numerous public and private collections, including: Aboriginal Diplomacy and Northern Development Canada (ON); Art Gallery of Ontario (ON); Canadian Museum of Civilization (QC); McMichael Canadian Art Collection (ON); National Gallery of Canada (ON); Government of Ontario Art Collection (ON); and Winnipeg Fine art Gallery (MB). Major commissions include murals for the Sandy Lake Primary School, Ontario (1971) and the Sioux Lookout Fellowship and Communication Centre, Ontario (1973).
Image: Carl Ray, 1975
National Gallery of Canada Library and Archives, Dominion Gallery Fonds
josephsanchez
Joseph Sanchez (b. 1948) was built-in in Trinidad, Colorado. He is an artist and curator of Spanish, German, and Pueblo descent currently residing in Santa Fe, New Mexico. From 1982–84 he served every bit a board member of the National Association of Artist Organizations. In 2010, Sanchez retired as Deputy Director and Principal Curator of the Museum of Contemporary Native Arts (formerly the Found of American Indian Arts Museum), where he had worked since 2002. In 2011, Sanchez was the Contemporary Curator of the exhibition Native American Art at Dartmouth: Highlights from the Hood Museum of Fine art, Dartmouth University, Hanover, New Hampshire. Sanchez was the recipient of the Allan Houser Memorial Laurels for outstanding artistic achievement and customs service in 2006 and was a curatorial partner for the 7th International Biennial at Site Santa Atomic number 26 in 2008.
The only non-Canadian artist of the Professional Native Indian Artists Inc., Sanchez served in the United States Marine Corps before moving to Canada. He met Daphne Odjig in 1971 while living outside of Winnipeg in Richer, Manitoba, and was instrumental in the formation of the Professional Native Indian Artists Inc. In 1975, Sanchez was repatriated under the Gerald Ford Presidential Amnesty and moved to Arizona, where he was involved with the formation of the artist groups MARS (Movimiento Artistico del Rio Salado) and Ariztlan in 1978. In 1983 Sanchez founded ARTS, a service to blueprint exhibitions, provide curatorial services, administer collections, and provide consulting for individuals, artists, and museums.
Paradigm: Joseph Sanchez, 1975
National Gallery of Canada Library and Archives, Dominion Gallery Fonds
Source: https://mackenzie.art/exhibition/7-professional-native-indian-artists-inc/
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