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.
tofeelclose is a space for individual and collective reflection. The project gathers momentum and shape through every voice. Contributors offer unfolding ideas and inquiries, lay bare obsessions, wade through the mundane, stage a place for an encounter. Look for ways to feel close. Artist commissions will be added biweekly from July to November 2020, thereafter archived.
In collaboration with AKA we presented
Correspondence: a project of University of Saskatchewan Art Galleries and Collection
Curated by jake moore
Episode 5 part 2
Episode 5 part 1
"Beads in the blood," Walking Tour
As part of #AGALive for the Art Gallery of Alberta
On Monday, March 8th, 2021 at 4 pm MST another enlightening #GGArts conversation between 2020 Governor General’s award recipient Ruth Cuthand and intermedia artist and gallery director, jake moore.
They will address Cuthand’s practice as “story work” and the role materials play in their construction, threading through the objects and actions in her current survey exhibition, “Beads in the Blood” curated by Felicia Gay.
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).
anohc kipasikonaw/ we rise /niipawi
Friday, October 2, 2020 – pimihâwipîsim / ᐱᒥᐦᐋᐏᐲᓯᒼ / Migrating Moon
Sunday, November 1, 2020 – ihkopîwipîsim / ᐃᐦᑯᐲᐏᐲᓯᒼ / Frost Moon
Tuesday, December 1, 2020 – opâwahcikanasîsipîsim / ᐅᐹᐘᐦᒋᑲᓇᓰᓯᐲᓯᒼ / Frost Exploding Moon
Wednesday, December 30, 2020 – kisîpîsim / ᑭᓰᐲᓯᒼ / Great Moon
Friday, January 29, 2021 – mikisiwipîsim / ᒥᑭᓯᐏᐲᓯᒼ / Eagle Moon
Sunday, February 28, 2021 – niskipîsim / ᓂᐢᑭᐲᓯᒼ / Goose Moon
Monday, March 29, 2021 – ayîkipîsim / ᐊᔩᑭᐲᓯᒼ / Frog Moon
Wednesday, April 28, 2021 – sâkipakâwipîsim / ᓵᑭᐸᑳᐏᐲᓯᒼ / Leaf-budding Moon
Thursday, May 27, 2021 – pâskâwihowipîsim / ᐹᐢᑳᐏᐦᐅᐏᐲᓯᒼ / Egg-laying Moon
Friday, June 25, 2021 – paskowipîsim / ᐸᐢᑯᐏᐲᓯᒼ / Moulting Moon
Sunday, July 25, 2021 – ohpahowipîsim / ᐅᐦᐸᐦᐅᐏᐲᓯᒼ / Flying Up Moon
Monday, August 23, 2021 – takwâkipîsim / ᑕᑳᑭᐲᓯᒼ / Autumn Moon
Wednesday, September 22, 2021 – nôcihitowipîsim / ᓅᒋᐦᐃᑐᐏᐲᓯᒼ / Rutting Moon
You can also check out our News and Events Here.
"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.
anohc kipasikônaw/ we rise /niipawi
You can read more about anohc kipasikônaw/ we rise /niipawi here.
- Along with the 13 Slate Steps, the Gordon Snelgrove Gallery will host a temporary installation of the painting, Poundmaker Intercedes, by Kent Monkman 7-10. Its exhibition is made possible through the generosity of the Chief Poundmaker Museum and Gallery, specifically though the kind assistance of curator, Floyd Favel and Milton Tootoosis.
- Historical Portraits plus: Beginning with Annie Maude “Nan” McKay (BA1915), we will present portraits of Indigenous graduates of USask to surround current students and members of the university community with their predecessors and make evident the long line of Indigenous presence and success within the institution and highlight the formative role Indigenous Knowledges have played in building the contemporary institution. This is an active building and an ongoing process, something we are doing now. To mark this becoming, we will have a portrait studio set up to photograph current students and participants in the process.
Friday Jan. 10, 2020
- 12:00 Lunch and Learn: jake moore, Director of Campus Galleries and Collection will share a talk titled: “Storied Matter and teaching a stone to talk inverted: Mattered story and learning how to listen”.
Thursday Jan. 9, 2020
- 12:00 Lunch and Learn: Sandy Bonny, team lead for ISAP in the College of Arts and Science, is a non-Indigenous member of Saskatoon’s Treaty 6 community with an interdisciplinary background in Earth science and the literary arts – she’s excited to talk about rocks as generative materials for both art and ‘scientific storytelling’.
Wednesday Jan. 8, 2020
- 12:30 pm Lunch and Learn: Randy Morin is a storyteller and language keeper from Big River First Nation, and a faculty member in Indigenous Studies – this term, among other classes, he is teaching Cree 110: nehiyawetan, Let Us Speak Cree! with Indigenous Student Achievement Pathways (ISAP).
Tuesday Jan. 7, 2020
- 12:30 pm Lunch and Learn: Lyndon Tootoosis, Nêhiyawak, "Battle River” Cree, member of the Poundmaker First Nation. Lyndon is a carver, storyteller, and interpreter of petroglyphs and is joining our campus community as the newest Indigenous Artist in Residence with Campus Art Galleries and Collection.
Monday, Jan. 6, 2020
- 10:30 am Smudge and blessing, opening remarks followed by a small reception.
- 1:00 pm Blanket Exercise
MFA Artist Talks
March 24, 6pm
Mohsen AhiAndy (he/him) is an Iranian artist/ designer, currently lives in Saskatoon. His background in industrial design (BDes/MDes) has had an evident impact on his artistic practices. Mohsen’s artistic production generally maneuvers between two main approaches: studio installations that are mostly made through a trial and experimental process, and outdoor projects and site-specific sculptures that are fabricated through a definite and design process. The visual language Mohsen utilizes in his practice is drawn from the geography of his Iranian upbringing which is filled with memories of a chaotic revolution and the political and social crisis which followed. In Mohsen’s works, alteration of form, structure, physical matter, and material are parts of his instinctive exploration. A process that helps him to understands the notion of his psyche as an independent meaningful object cluttered with layers of complicated realities.
I Made You a Mixed Tape
March 31, 6pm
My intuition is the catalyst for the myriad of ephemera I collect and organize, trusting that a deeper camaraderie will emerge over time. I am energized by natural materials spotted in urban green spaces by virtue of chance encounters. Freely exploring ways to disrupt the traditional forms, systems, rules and surface barriers of unheeded everyday objects permits me to cultivate new meaning. Merging these materials as I reimagine collections methodologies, documentation, and taxonomies in an endeavour to create my own systems of organisation is at the heart of my current curiosity.
March 31, 7pm
My artistic practice is rooted in drawing, and the core of this practice is inherently both experiential and embodied. This practice is deeply tied to process; this process is reflective, material, self-revealing, and attempts to engage in the “here and now.” Intuition is central to this engagement, and so I consider the act of mark making as it relates to inner thought and feeling, emotive and physical.
Within my practice, drawing takes place both within and outside of myself, and then becomes something of its own. Drawing facilitates a solitary dialogue through which I attempt to materialize – a mark, a moment – attempt to come to know, and ultimately, try to make sense of.
In Between Two Worlds
April 7, 6pm
Adrian Golban is in the second year of the MFA program. He trained in Romania in figurative and technical traditions with wood, stone and bronze. Since arriving in Saskatoon in 2012, he has adapted his working methods and now primarily expresses himself with found and everyday materials as well as clay. This transition has posed many challenges and opportunities; increasingly, he is referencing his diasporic identity, often working with memories and experiences specific to his life in Romania. Adrian holds a BFA from the Academy of Visual Arts in Romania and a MA in Educational Management. His award-winning artworks have been exhibited across Europe and are in many private collections.
The Hidden Lives of Objects
April 7th, 7pm
Nicole Leroy is a French-born American artist, whose practice and research focuses on commercial culture. Her work predominantly incorporates found objects and children’s entertainment media, which form multimedia electronic sculptures. Reinforcing this practice, her research revolves around visual and popular culture, as well as the autonomy of readily-available consumer objects.
Her current body of work focuses on constructing the mythology of the flora and fauna of a fictional planet, who manifest themselves in our world through sculptures made of altered children’s toys. As individuals, the sculptures express themselves through movements and vocalizations, which are created by altering the circuitry of electronic toys to produce unintended results. This ultimately results in a collection of works that form an interconnected community of eccentric creatures, who celebrate diversity and pluralism.
"Beads in the blood": Ruth Cuthand, a Survey
Talk Tour with Ruth Cuthand (BFA’83, MFA’92) and Felicia Gay (BA’04, MA’11).
The University of Saskatchewan Department of Art and Art History and the University Art Galleries and Collection invite you to attend an upcoming virtual event.
Date: Wednesday, April 7, 2021
Time: 7 pm (Saskatchewan time)
Location: Online via Zoom (link to be sent out prior to event)
This online event features Ruth Cuthand (BFA’83, MFA’92) and guest curator Felicia Gay (BA’04, MA’11) hosting an intimate talk tour of Cuthand’s current survey exhibition Beads in the blood. The talk tour will be followed by a live Q&A session.
Stories survive, stories move beyond the realm of our voices, they move beyond the realm of our memories and they do not live in the past…They say the stories live on in our language and on our faces. Our words are not gendered, they comprise of animate and inanimate beings. The beings in our language, we relate to them.
Ruth Cuthand is a Canadian mixed-media artist of Plains Cree and Scottish ancestry whose practice includes painting, drawing, photography, and beadwork. Born in 1954 in Prince Albert, Sask., she grew up in Alberta, where as a child she met artist Gerald Tailfeathers, who inspired her to become an artist herself. Cuthand earned a BFA from the University of Saskatchewan in 1983, and an MFA, also from the University of Saskatchewan, in 1992. Cuthand’s work is featured in many collections, including the National Gallery of Canada, the Art Gallery of Ontario, and the University of Saskatchewan Art Collection. Cuthand was honoured with the Saskatchewan Artist Award at the Lieutenant Governor’s Arts Awards in 2013. In 2016, she was honoured as a College of Arts and Science Alumni of Influence. In 2020, she was awarded a Governor General’s Award in Visual and Media Arts. In 2021, Cuthand was announced as a University of Saskatchewan Alumni Lifetime Achievement Award winner.
Felicia Gay, Swampy Cree/Scottish, is the first Curatorial Mitacs Fellow at the Mackenzie Art Gallery in Regina, a partnership with the University of Regina and Faculty of MAP. She is currently completing a PhD that began in 2019 as well as working as an independent curator. Gay was the 2018 recipient of the Saskatchewan Arts Award for Leadership for her work with curation and advocacy for creating space with Indigenous art and artists since 2004. Gay holds a BA (honours) in art history (2004) and a master's degree in art history (2011). In 2006, Gay co-founded and was artistic director of the Red Shift Gallery, a contemporary Indigenous art space in Saskatoon, Sask., with Joi Arcand. In 2020, Gay was guest curator for Remai Modern, in partnership with the Art Gallery of Alberta, for the 2020 Biennial of Contemporary Art. Gay is from the northern island community of Cumberland House, Sask., on Treaty Five Territory.
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."