The way that we engage with art is constantly evolving. As we increasingly view art through screens, how does our experience change? Join Kenderdine Art Gallery and College Art Galleries as we explore our online database and examine how our environment changes the way we perceive art.
This all ages video will help you navigate our collection, as well as explain some of the choices that artists and curators make when creating an exhibition.
"Students, faculty, staff, and alumni are invited to join guests from the Indigenous arts community to share in conversation, creativity, and virtual collaboration. Drop-in beading sessions will be held throughout Indigenous Achievement Week. Experienced, aspiring, and brand-new beaders will be encouraged to share digital images of their works-in-progress, which will be added to a mosaic digitally quilted together over the course of the week and shared back as a reflection of community."
You can share your images for Beadin' 2021 here.
Allen Sapp Exhibition"This online exhibition of Allen Sapp’s work has been curated by Kathleena Chief Calf. The biography and extended labels draw on the existing literature and web presence of Allen Sapp, namely the Allen Sapp Gallery, the Virtual Museum of Canada, and the book “Through the Eyes of The Cree and Beyond. The Art of Allen Sapp: The Story of a People” by Dean Bauche, Lyndon Tootoosis, Lorne Carrier, L. Whiteman, D. Masqua."
In Conversation: Manar Moursi and Nadia Kurd
Manar Moursi discusses their exhibition 'the loudspeaker and the tower' with Nadia Kurd and Leah Taylor. The exhibition runs from September 18 to December 19, 2020 at the University of Saskatchewan College Art Galleries and is co-curated by Emily Fitzpatrick and Toleen Touq, with an exhibition essay by Nadia Kurd.
Manar Moursi is an architect and artist. A graduate of the University of Virginia, Moursi also holds a dual Masters degree in Architecture and Urban Policy from Princeton University. In 2011 she founded Studio Meem: an interdisciplinary research studio.
In Conversation: Gabrielle L’Hirondelle Hill
Gabrielle L'Hirondelle Hill discusses their solo exhibition 'four effigies for the end of property' with curator Leah Taylor. The exhibition runs from September 18 to December 19, 2020 at the University of Saskatchewan College Art Galleries.
L'Hirondelle Hill is a Metis artist and writer who lives and works on the unceded lands of Skwxwu7mesh, Musqueam, and Tsleil-Waututh peoples.
Voice of Hearing
YOU- HOUR 7 (18-19 GMT) (13-14 EST) (11-12 CST) (10-11 PST)
UNIVERSITY OF SASKATCHEWAN ART GALLERIES AND SQUINT PRESS PRESENTS the launch of Vivian Darroch-Lozowski’s book Voice of Hearing with the author, jake moore, Daniela Cascella, Christof Migone, Ann West
Originally published in 1984, Voice of Hearing was found in a used book shop in London, Ontario by Christof Migone. Its titular provocation led to this re-presentation complete with a generative introductory essay by Migone, a newly crafted postface from Vivian, and re-packaging with eloquent cover art by Dominique Pétrin.
This online event is hosted by jake moore, Director of the University of Saskatchewan Art Galleries and Collections. The hour will feature an excerpted conversation between Vivian Darroch-Lozowski, author and professor emerita of the University of Toronto, currently based in Moose Jaw, Saskatchewan; the original editor of the book, Ann J. West; the writer, researcher, lecturer and editor, Daniela Cascella; and Christof Migone artist, curator, and writer and the editor at the audio-centric Squint Press responsible for this re-publication. The conversation will be interspersed with readings from the text by Vivian and excerpts of Migone’s introductory essay.
Contemplative, intricate, here the philosopher Vivian Darroch-Lozowski develops a phenomenology of hearing. Where theorizing is a present-tense action. Where a landscape teaches waiting. Where to be in a body is to gesture to another. Where subjectivity is the transformation of language. Where attention releases nascent energy. Where to hear is also to transform. Where myth is a gate. A close attending to this text, which is also a unicorn, will delicately open the reader’s time-sense.
—Lisa Robertson, author of Cinema of the Present, The Weather, Nilling, and The Baudelaire Fractal
“What is on these pages is what I am which is what I have never been”: Vivian Darroch-Lozowski’s meditation on coming into being through the act of writing is at once familiar scenario —a narrating of the process of creation— and distinctive unswerving unscrolling improvisation. Its visionary sensibility and self-exegesis and sheer blizzardy accumulation of word, image, observation, and insight attunes to the play of sound in ways that make radical modes of hearing fundamental to its ethos.
—David Grubbs, author of The Voice in the Headphones, Now that the audience is assembled, and Records Ruin the Landscape
Hosted by the University Art Galleries and Collections at the University of Saskatchewan, this annual series brings into the room critical thinkers that are working in parallel to our mandate to make public historical and contemporary art and creative practices that confront the urgent and critical matters of our time, whether they be social, political, aesthetic, intellectual, environmental or cultural in nature.
This year we begin our inaugural series with Natalie Loveless whose 2019 book, How to Make Art at the End of the World: A Manifesto for Research-Creation, seemingly presaged the pandemic. Her call though, was to acknowledge the radically shifting terrains of making and knowledge production and how they intertwine and co-constitute. As she articulates in the book, “New hybrid forms demand new, expanded categories if they are to be accountably dealt with.”
Our series will centre relationality and accountability as our guests query current pedagogical, knowledge sharing, as well as exhibition and collection structures and institutions with propositions for re-figurations towards a more equitable future.
Please join us for these three conversations.
How to Make Art at the End of the World: Revisited
February 11, 2021, 7pm
As an intervention into normative scholarly practice, research-creation has gained increasing visibility and validity over the past decade within the academy. Often mobilizing interdisciplinary and collaborative methods, with one foot - always - firmly grounded in artistic literacies, research-creation asks us to attend, with detail, to the methods we mobilize as well as our modes of output and publication at the level of constitutive form. This talk will return to some of the key provocations laid out in the Loveless' 2019 book, How to Make Art at the End of the World: A Manifesto for Research-Creation, and consider what has shifted in the tumultuous years since its publication.
Natalie Loveless is an artist, theorist, curator. She is Associate Professor of contemporary art and theory in the History of Art, Design, and Visual Culture at the University of Alberta, located in ᐊᒥᐢᑿᒌᐚᐢᑲᐦᐃᑲᐣ (Amiskwacîwâskahikan) on Treaty Six territory (Canada), where she also directs the Research-Creation and Social Justice CoLABoratory, co-leads the Faculty of Arts’ Signature Area in Research-Creation. Her recent books, How to Make Art at the End of the World: A Manifesto for Research-Creation (Duke Univerity Press, 2019) and Knowings and Knots: Methodologies and Ecologies in Research-Creation (Univerity of Alberta Press, 2019) examine debates surrounding research-creation and its institutionalization, paying particular attention to what it means – and why it matters – to make and teach art research-creationally in the North American university today. She is also co-editor of Responding to Site: The Performance Work of Marilyn Arsem (Intellect Press, 2020). In 2020 Loveless was elected to the Royal Society of Canada's College of New Scholars, Artists, and Scientists.
thá:ytset: shxwelí li te shxwelítemelh xíts'etáwtxw / Reparative Aesthetics: The Museum’s Incarceration of Indigenous Life
March 5, 2021, 2pm - 3:30pm
Across the globe, museums filled with glass and plexiglass vitrines display collections of Indigenous belongings. These cases render the life they contain into objects of display, things to be seen but not touched. Alongside the life of ancestors who take material form, thousands of Indigenous songs collected by ethnographers on wax cylinder recordings, reel-to-reel tape and electronic formats are similarly confined in museums. These songs also hold life, but of different kinds to that of their material cousins. For Indigenous people, experiencing these systems of display and storage are often traumatic because of the ways in which they maintain the separation of kinship at the heart of settler colonialism. To re-assess the role of the museum as a place that confines life is to put into question the museum’s relationship to incarceration. If the museum is a carceral space, how then might we define repatriation in relation to practices of “re-entry” and the reconnection of kinship? In what ways might the context of prison abolition apply to the museum? These questions, among others, are increasingly been focalized through the reparative aesthetics of Indigenous artists.
Dylan Robinson is a xwélmexw (Stó:lō/Skwah) artist and writer, and the Canada Research Chair in Indigenous Arts at Queen’s University. He is the author of Hungry Listening (University of Minnesota Press, 2020) on Indigenous and settler colonial forms of listening. His current research focuses on the material and sonic life of Indigenous ancestors held by museums, and reparative artistic practices that address these ancestors incarceration in museums.
SKAWENNATI : Mohawks in Jetpacks
Skawennati will present some of her art projects from this millenium, in which she imagines Indigenous people in the future.
March 25, 2021, 1pm – 2:30pm
Skawennati makes art that addresses history, the future, and change from her perspective as an urban Kanien’kehá:ka woman and as a cyberpunk avatar. Her work has been widely presented in both group exhibitions and solo shows and is included in public and private collections, such as the National Gallery of Canada and the Musée d'art contemporain de Montréal. She was honoured to receive the 2019 Salt Spring National Art Prize Jurors’ Choice Award, a 2020 Smithsonian Artist Research Fellowship and a Visiting Artist Fellowship at the Eccles Centre for American Studies at the British Library. She’s represented by ELLEPHANT.
Born in Kahnawà:ke Mohawk Territory, Skawennati holds a BFA from Concordia University in Montreal, where she resides. She is Co-Director of Aboriginal Territories in Cyberspace (AbTeC), a research-creation network. Their projects include the Skins workshops on Aboriginal Storytelling and Digital Media as well as the Initiative for Indigenous Futures (IIF).