#Marianne Nicolson

[guy60660]

Marianne Nicolson | MoCP

#artsy #design #Marianne Nicolson #mocp

[robotblues]

Kwakwa̱ka̱’wakw

“THE HARBINGER OF CATASTROPHE” (DETAIL) BY MARIANNE NICOLSON, 2017. GLASS, WOOD, HALOGEN-BULB MECHANISM. COLLECTION OF THE ARTIST. JOSHUA VODA/NMAI, SMITHSONIAN

#kwakwakawakw #indigenous art #northwest coast native art #formline #marianne nicolson #native art #contemporary art #art #2010s #m

[longlistshort]

Kimowan Metchewais, “Cold Lake Fishing”, 2004/06

Koyoltzintli, “Gathering Roots” and “Spider Woman Embrace”, Abiquiú, New Mexico, 2019, from the series MEDA, 2018/19, Archival pigment print

(Alan Michelson “Hanödagayas (Town Destroyer): Whirlwind Series”, 2022 Archival pigment prints and “Pehin Hanska ktepi (They Killed Long Hair)”, 2021 Single-channel video installation: wool blanket and video projection; 1:05 minutes (looped), no sound)

Currently at the USF Contemporary Art Museum is Native America: In Translation curated by Wendy Red Star and organized by Aperture. The work included offers viewers a chance to discover new perspectives on the Native American experience.

From the museum- “The ultimate form of decolonization is through how Native languages form a view of the world. These artists provide sharp perceptions, rooted in their cultures.” —Wendy Red Star

Native America: In Translation assembles the wide-ranging work of nine Indigenous artists who pose challenging questions about identity and heritage, land rights, and histories of colonialism. Probing the legacies of settler colonialism, and photography’s complex and often fraught role in constructing representation of Native cultures, the exhibition includes works by lens-based artists offering new perspectives on Indigenous identity, reimagining what it means to be a citizen in North America today.

Works included in the exhibition address cultural and visual sovereignty by reclaiming Native American identity and representation. Honoring ancestral traditions and stories tied to the land, Koyoltzintli (Ecuadorian-American, b. 1983) reflects on how the landscape embodies traditional knowledge, language, and memories. Nalikutaar Jacqueline Cleveland’s (Yup’ik, b. 1979) photographs of contemporary tribal communities in western Alaska document Native foraging and cultural traditions as a form of knowledge passed through generations. Revealing stories of trauma and healing, Guadalupe Maravilla (American, b. El Salvador, 1976) communicates autobiographical and fictional narratives informed by myth and his own migration story.

Expanding Indigenous archives and collective memory through photographic means, works by the late artist Kimowan Metchewais (Cree, Cold Lake First Nations, 1963–2011), drawn from his personal archive of Polaroid photographs, construct self-realized Native imagery challenging the authority of colonial representation. Excavating repressed colonial histories of invasion and eviction, Alan Michelson (Mohawk, Six Nations of the Grand River, b. 1953) reinterprets and repositions archival material to redress history from an Indigenous perspective. Marianne Nicolson’s (Musgamakw Dzawada’enuxw First Nations, b. 1969) light-based installation projects Dzawada’enuxw tribal symbols of authority and power onto colonized spaces to contest treaties that imposed territorial boundaries on Indigenous lands. Duane Linklater (Omaskêko Ininiwak from Moose Cree First Nation, b. 1976) reconfigured the pages sourced from a 1995 issue of Aperture, featuring Indigenous artists, creating space for artistic improvisation and reinvention across generations.

Reflecting on performative aspects of Indigeneity and the colonial gaze, Martine Gutierrez’s (American, b. 1989) series of photographs reinterpret high-fashion magazine spreads with a revolving roster of identities and narratives to question Native gender and heritage. Working across performance and photography, Rebecca Belmore (Anishinaabe, Lac Seul First Nation, b. 1960) creates powerful reenactments of past performances incorporating organic materials that reference knowledge, labor, and care of the Earth in defiance of state violence of Indigenous people.

This exhibition closes 12/1/23.

Rebecca Belmore, “matriarch”, 2018, and “mother” from the series “nindinawemaganidog (all of my relations)”, 2018, Archival pigment prints

Photos by Rebecca Belmore and Installation by Marianne Nicolson

Marianne Nicolson’s installation detail

Nalikutaar Jacqueline Cleveland, “Molly Alexie and her children after a harvest of beach greens in Quinhagak, Alaska”, 2018 and “There are two main Yup’ ik names for crowberries or blackberries in Alaska, “paunrat” and “tangerpiit””, 2017, Archival pigment prints

Guadalupe Maravilla, “I Crossed the Border Retablo”, 2021, Oil on tin, cotton, glue mixture, wood

Duane Linklater, “ghost in the machine”, 2021, Archival pigment prints

Martine Gutierrez, “Queer Rage, Dear Diary, No Signal During VH1’s Fiercest Divas”, and “Queer Rage, THat Girl Was Me, Now She’s A Somebody”, 2018. digital chromogenic print

One of Kimowan Metchewais’ polaroids from the slide show

#USF Contemporary Art Museum #Native American Artists #Rebecca Belmore #Kimowan Metchewais #Alan Michelson #Martine Gutierrez #Institute For Research in Art #Marianne Nicolson #Duane Linklater #Koyoltzintli #Guadalupe Maravilla #Nalikutaar Jacqueline Cleveland #Mixed Media #Mixed Media Art #Art #Mixed Media Photography #Native American #Native American Art #Native American Heritage Month #Black and White Photography #Art Shows #Florida Art Shows #Native American History #Photography #Polaroid #Polaroid Photography #Tampa Art Shows

[demurely1]

Drama Log 2023

This log is constructed according to ABF rules: I’ve recorded tv or film dramas viewed from Jan to Dec 2023 and graced by AB or one of his previous co-actors…. or some degree of separation ….  or not….

Father Brown (10) Claudie Blakley, Aidan McArdle

His Dark Materials (3) Ruth Wilson, Will Keen, Andrew Scott, Victoria Hamilton

Our Flag Means Death Joel Fry, Rory Kinnear

Vera Patricia Potter

Mystery Road: Origin

The Rig

Better Anton Lesser

Carnival Row (2)

The Cleaner (2) Mark Lewis Jones 

Great Expectations Olivia Colman 

Magpie Murders Lesley Manville, Daniel Mays, Harry Lawtey

Dalgliesh Sam Hoare, Deborah Findley

Maryland Eve Best 

Steeltown Murders Matthew Gravelle, Steve Nicolson

Annika Paul McGann 

The Gallows Pole    Samuel Edward-Cook

The Woman in the Wall Ruth Wilson

The Following Events are Based on a Pack of Lies Marianne Jean-Baptiste, Alistair Petrie, Romola Garai

All Creatures Great and Small (4) Sam West, Anna Madeley, Paul Hilton

Cobra: Rebellion Robert Carlisle, Victoria Hamilton, Marsha Thomason, Lucy Cohu

Boat Story Daisy Haggard, Paterson Joseph, Kate Dickie

Shetland (8) 

Vigil (2) Romola Garai, Amir El-Masry, Rose Leslie

Murder is Easy David Jonsson, Mathew Baynton, Tamzin Outhwaite

#andrew buchan #drama #drama log #2023 #ab co-actors #watching tv

[stephainemichelle]

Baxwana'tsi: The Container for Souls -Marianne Nicolson

This one had an immersive feel to it. Positioned perfectly so the corners of the case lined up with the corners of the room. It had a feel almost as if the room were the box itself with us inside of it. She also engraved family photos on the sides of the box. Quite an elegant work.

#art #engraving #light #first nations #west coast #marianne nicolson #beautiful

[nscadlasers]

“Marianne Nicolson, Bakwin-a’tsi Container for Souls, 2006. Glass, cedar, light fixtures.

Collection of the Vancouver Art Gallery. Purchased with funds donated by the Audain Foundation. Photo: Rachel Topham. This work was on display at the Gallery as part of In Dialogue with Carr, July 1, 2010 – January 30, 2011.”

Read more about this work and artist from the Vancouver Art Gallery’s website here.

#inspiration #contemporary art #marianne nicolson #luminary #light #lasercut #example

[greyloch]

Bax’wana’tsi: the Container for Souls By Marianne Nicolson at the #renwickgallery A glass cube with Haida “form lines” frosted on to the glass so that it casts shadows on all four sides of the room. Really unusual and ethereal to see in person. #smithsonian #museum #sonydsctx30 #art #nativesmerican #shadows #patterns (at Renwick Gallery) https://www.instagram.com/p/B_pVhjlDvpt/?igshid=vnxk6evctfcj

#renwickgallery #smithsonian #museum #sonydsctx30 #art #nativesmerican #shadows #patterns

[yegarts]

Celebrate National Indigenous Peoples Day with Art

The summer solstice has special resonance in Canada as it coincides with National Indigenous Peoples Day.

National Indigenous Peoples Day recognizes and celebrates the cultures and contributions of the First Nations, Inuit and Métis Indigenous peoples of Canada. First celebrated as National Aboriginal Day in 1996, the day was renamed in 2017. June 21 was chosen for many reasons, including its cultural significance as the Summer solstice, and because many Indigenous peoples and communities traditionally celebrate their heritage on the solstice. 

This weekend presents a perfect opportunity to visit ᐄᓃᐤ (ÎNÎW) River Lot 11∞  - Edmonton’s Indigenous Art Park. The result of a deep multiyear partnership between Edmonton’s Indigenous communities and artists, the City of Edmonton, and the Edmonton Arts Council, the park celebrates and tells the stories of ‘this place.’

Situated within the historic Queen Elizabeth Park on the south side of Queen Elizabeth Park Road, the six artworks examine and evoke millennia of Indigenous history. 

Curated by Candice Hopkins, the park features: iskotew - Amy Malbeuf (Rich Lake, Alberta), pehonan - Tiffany Shaw-Collinge (Edmonton, Alberta), mikikwan - Duane Linklater (Moose Cree First Nation, Ontario), mamohkamatowin (Helping One Another) - Jerry Whitehead (James Smith First Nation, Saskatchewan), Reign - Mary Anne Barkhouse (Nimpkish Band, Kwakiutl First Nation, British Columbia), and Preparing to Cross the Sacred River - Marianne Nicolson (Dzawada'enuxw Nation, British Columbia).

Earlier this month, ᐄᓃᐤ (ÎNÎW) River Lot 11∞ was the only Canadian public art project to receive recognition as one of the 50 most compelling public art projects in North America through the Americans for the Arts Public Art Network Year in Review. You can read more about ᐄᓃᐤ (ÎNÎW) River Lot 11∞ here. 

Here are a few more events to take in.

Art Gallery of Alberta: Today, the AGA offers free admission all day (until 5:00pm) and special programming. Take in exhibitions featuring the work of First Nations and Métis artists, including Cul-de-Sac and Fix your hearts or die. 

Royal Alberta Museum The RAM fills its space with artists and performers presenting music, dance, storytelling, and art in celebration of Canada’s Indigenous Peoples. Activities include lessons on making a drum, bark basket or moss bag. Go behind the scenes to tour RAM’s Indigenous Studies collection. Join in with traditional dance and drumming performances or hear stories in the courtyard. Activities and performances run until 8:00 pm.  

Friday, June 21, 2019

IndigiSoulstice - National Indigenous Peoples Day: Two stages and one night of Indigenous art, fashion and music. Live performances, special guests and Natives Got Talent Music Challenge. Located at the Art Gallery of Alberta (2 Sir Winston Churchill Square) until 8:00 pm

The Works Art & Design Festival

The Works Stage (Alberta Legislature Grounds) 2:00 – 10:45 pm The Works, in collaboration with Festival Edmonton Chante, presents a day of music words from a variety of Indigenous artists and musicians - Chubby Cree, Cindy Paul, Daniel Richer dit LaFlèche, Elisapie, and Samian.

The Appropriation Arsan Buffin Site 1 – Capital Plaza The Appropriation Indigenizes advertising using stock photos highlighting the lack of Indigenous People in media.

Where are the Children? Healing the Legacy of the Residential Schools Site 2 – Legislative Assembly of Alberta Visitors’ Centre - Borealis Gallery Monday – Wednesday; Friday – Sunday 10:00 am – 5:00 pm / Thursday – 10:00 am – 8:00 pm A powerful traveling exhibition by the Legacy of Hope Foundation that explores the history and consequences of the Residential Schools System in Canada with the goals of contributing to the healing and understanding required for reconciliation. 

Stoney Nakoda Sioux Exhibit Various Artists Site 24 - Galerie Cité – 8627 Rue Marie-Anne Gaboury Monday-Saturday 8:00 am – 9:00 pm / Sunday: 9:00 am – 5:00 pm Containing diverse works form members of the Stoney Nakoda Sioux Audio Visual Club, this exhibition rallies the power of story and the potential of the Nakoda people.

The Future, All At Once Lauren Crazybull Site 25 – McMullen Gallery 8448 112 Street (Main Floor - U of A Hospital)Monday Friday 11:00am-7:00 pm Saturday & Sunday 11:00 a, - 5:00 pm (Closed July 1) Alberta’s first Artist in Residence, Lauren Crazybull, wishes to tell a story of Indigenous Futures from the perspective of her younger self.

Saturday June 22, 2019

Edmonton Indigenous Peoples Festival Edmonton Expo Centre, Hall A & North Plaza - 11:00 a.m. to 9:00 p.m. A day of free & family-friendly interactive experiences, cultural demonstrations, artisans, cuisine, and live concerts celebrating First Nation, Métis and Inuit peoples and cultures.

All images by Brad Crowfoot - from the top iskotew by Amy Malbeuf; mamohkamatowin (Helping One Another) by Jerry Whitehead; Reign by Mary Anne Barkhouse; pehonan by Tiffany Shaw-Collinge; Preparing to Cross the Sacred River by Marianne Nicolson; mikikwan by Duane Linklater

#yegarts #edmontonarts #nationalindigenouspeoplesday #firstnations #inuit #Metis #theworks #yegfestivals #solstice #artpark

[seattleartmuseum]

Bathe in the light of Marianne Nicolson's "Ḱanḱagawí (The Seam of Heaven)"—an immersive light installation referencing the Milky Way, the Columbia River, and land sovereignty—when you visit "Double Exposure: Edward S. Curtis, Marianne Nicolson, Tracy Rector, Will Wilson." It's opening weekend of this new exhibition, get in here! _ #SAMDoubleExposure #MarianneNicolson #seattleart [Installation view of "Double Exposure: Edward S. Curtis, Marianne Nicolson, Tracy Rector, Will Wilson" at Seattle Art Museum, 2018. 📷: Natali Wiseman] via Instagram https://ift.tt/2HTbqjf

#IFTTT #Instagram

[fuckyeahseattle]

(via Ḱanḱagawí (The Seam of Heaven) | Marianne Nicolson, Double E… | Flickr)

[bhsutton]

Kwakwaka’wakw artist Marianne Nicolson’s hypnotic light installation “The Harbinger of Catastrophe” (2017) in “Transformer” at @smithsoniannmai. (at National Museum of the American Indian)

[wilsworld]

Varanasi: The Container for Souls, 2006 Glass, cedar, light fixtures Marianne Nicolson Container for Souls affirms Marianne Nicolson's Dzawada'enuxw traditional culture and language while presenting a complex relationship between body and soul. The light box takes the form of a bentwood chest, a traditional Native Northwest Coast wooden container. It casts a shadow that invites the viewer to be both observer and observed, as one's own body interrupts light and casts a shadow upon the wall. Nicolson says, "When I saw the captured heritage of our nations on the market and in the museums, it seemed to me that we too had become encased in glass." . . #HeartsOfOurPeople #Renwick Gallery #instacool #instawow #containerofsouls #glassart #NativeAmerican #instafun #creativeart #discoverDC #thingstodoDC #seenonmywalk #wilworksdc #creepy (at Renwick Gallery) https://www.instagram.com/p/B9COg_JHSJe/?igshid=1eitlo2c5v1pc

#heartsofourpeople #renwick #instacool #instawow #containerofsouls #glassart #nativeamerican #instafun #creativeart #discoverdc #thingstododc #seenonmywalk #wilworksdc #creepy

[autvisualarts]

Five of our favourite Visual Arts at AUT alumni together at the opening of "Transits and Returns" at Vancouver Art Gallery!

Joe Prisk, Cora-Allan Wickliffe, Louisa Afoa, Paula Booker and Kelsey Stankovich 😁

~*~*~*~*~*~*~*~*~*~

"Transits and Returns" features AUT whanau, BC Collective (Cora-Allan Wickliffe and Daniel Twiss) with Louisa Afoa and Ahilapalapa Rands – and A&D PhD researcher Lana Lopesi is part of the curatorial team!

Lots to celebrate, AUT VA!! {{{{ Super proud }}}}

- Transits and Returns presents the work of 21 Indigenous artists whose practices are both rooted in the specificities of their cultures and routed via their travels. These forces of situatedness and mobility work in synergy and in tension with one another, shaping the multiple ways of understanding and being Indigenous today. Within the exhibition, these dual realities are explored through themes of movement, territory, kinship and representation, with many artworks inhabiting multiple categories. The resulting presentation foregrounds the creative sovereignty of each artist to determine their own articulations of the world, while also exploring the resonances between them.

Featuring artists from local First Nations, as well as those from communities located throughout the Pacific region (ranging from Alutiiq territory in the north to Māori lands in the south, with many mainland and island Nations in between), Transits and Returns traces wide-ranging experiences that are inclusive of both ancestral knowledges and global connections.

Participating artists include Edith Amituanai, Christopher Ando, Natalie Ball, BC Collective with Louisa Afoa, Drew Kahuʻāina Broderick with Nāpali Aluli Souza, Hannah Brontë, Elisa Jane Carmichael, Mariquita Davis, Chantal Fraser, Maureen Gruben, Bracken Hanuse Corlett, Taloi Havini, Lisa Hilli, Carol McGregor, Marianne Nicolson, Ahilapalapa Rands, Debra Sparrow and T’uy’t’tanat Cease Wyss.

- TRANSITS AND RETURNS SEPTEMBER 28, 2019 - FEBRUARY 23, 2020

Organized by the Vancouver Art Gallery in collaboration with the Institute of Modern Art, Brisbane. The exhibition is curated by Tarah Hogue, Senior Curatorial Fellow, Indigenous Art, Vancouver Art Gallery, with Sarah Biscarra Dilley, Freja Carmichael, Léuli Eshraghi and Lana Lopesi.

http://www.vanartgallery.bc.ca/exhibit…/transits-and-returns

[differentcomputerfestival]

Double Exposure: Edward S. Curtis, Marianne Nicolson, Tracy Rector, Will Wilson

150 years after Edward S. Curtis' birth, his haunting portraits of Native Americans have an indelible place in the American consciousness. This major exhibition of more than 180 works by Curtis, as well as contemporary works by indigenous artists Marianne Nicolson, Tracy Rector, and Will Wilson seeks ... from Google Alert - event http://ift.tt/2rpdQmD

#IFTTT #Google Alert - event

[mbti-sorted]

Marianne Nicolson

#enfj

[linguistlist-blog]

TOC: Zeitschrift für Anglistik und Amerikanistik Vol. 68, No. 2 (2020)

Frontmatter Page: i - iv DOI: 10.1515/zaa-2020-frontmatter2 Editorial Page: 103 - 103 DOI: 10.1515/zaa-2020-0012 Indigenous Knowledges in North America: An Introduction Kerstin Knopf , Birgit Däwes Page: 105 - 110 DOI: 10.1515/zaa-2020-0013 Contemporary Art Practice and Indigenous Knowledge Gerald McMaster Page: 111 - 128 DOI: 10.1515/zaa-2020-0014 Marianne Nicolson’s Land-Based Knowledgescape Cliff Painting Amina Grunewald Page: 129 - 143 DOI: 10.1515/zaa-2020-0015 I http://dlvr.it/RYSC3L