Mixed media artist Jane Ash Poitras was born in Fort Chipewyan, Alberta in 1951. Poitras’ biological mother died when she was six years old and she was raised by her adoptive mother in a German Roman Catholic household in Edmonton. She earned...
Mixed media artist Jane Ash Poitras was born in Fort Chipewyan, Alberta in 1951. Poitras’ biological mother died when she was six years old and she was raised by her adoptive mother in a German Roman Catholic household in Edmonton. She earned first a degree in microbiology, followed by a second degree in printmaking, from the University of Alberta. She then earned a Master of Fine Arts (painting and sculpture focus) from Columbia University in New York. Poitras is a member of the Royal Canadian Academy of the Arts, and an in-demand lecturer at Universities world-wide. Poitras is the recipient of numerous awards including the Alberta Centennial Medal, the University of Alberta Alumni Award of Excellence, and the 2006 national Aboriginal Achievement Award for Arts and Culture. Poitras’ work frequently makes use of references to First Nations and European art history and combines layers of photography, painted images, and text to create complex works that address issues of personal and collective identities, histories, and stories. In early adulthood Poitras sought out her Cree/Dene heritage. According to a 2010 press release from the Royal Ontario Museum (http://www.rom.on.ca/en/about-us/newsroom/press-releases/jane-ash-poitras-new-acquisitions-of-contemporary-first-nations-art Accessed January 13, 2017) Poitras “meets regularly with Elders from many Native communities to hear their stories and to learn from them. She travels often, allowing her to observe and partake in the rituals of various Native cultures. By doing so, she brings a very humanist approach to her work. She isn’t just trying to give information – rather her work is about sharing knowledge. Her visual presentation of First Nations has had a tremendous impact on Canadian art.” ARTIST INFO: Canada House Gallery: http://www.canadahouse.com/Artists/Jane_Ash_Poitras.asp (Accessed February 26, 2017)
DESCRIPTION: Mixed media painting containing a blue and white photo-silkscreen of Chief PīTIKWAHANAPIWīYIN (Poundmaker) in the upper-mid quadrant. The words “POUNDMAKER” (in black) and “REAL” (in white) are present above of Chief PīTIKWAHANAPIWīYIN’s photo. A thick blue line containing eight red and white circles is located above this text. Below the images, an abstract figure made up of lines and a shell-like circle with an “X” through it, is reaching upward with its left hand. The figure’s right hand is reaching downwards toward the hand of a smaller similar looking figure (perhaps a child of the larger figure). These figures are standing in front of written text referring to Elijah Harper. On the left side of the photo-silkscreen of Chief PīTIKWAHANAPIWīYIN there are symbols drawn in white paint over a dark green rectangle. On the right side of the photo-silkscreen of Chief PīTIKWAHANAPIWīYIN a portrait which appears to be an amalgamation of stereotyped imagery of First Nations Chiefs has the words “WANT | STEREOTYPE | YES NO?” written in blue over top.
POUNDMAKER | REAL | In 1990 ElijaHarper saved Canada | In 1857 an act was passed aimed | specifically at assimilating INDIAN [unknown word, possibly “people”] | into the mainstream of colonial life | By forsaking [unknown word, possibly “all”] Indian heritage. Signed recto (front) in black paint "J. Ash Poitras '90".
- Ash Poitras Jane b. 1951 - Cree; Canadian (artists (visual artist))
- Art, Canadian--20th century--Cree art--Women artists--Art, Modern--20th century--Women artists--Canada--Meech Lake Accord (1987)--Canada--Politics and government--1945---Canada--Politics and government--Indigenous peoples--Government relations--Indigenous art--Government, Resistance to--Art--Political aspects--Indians--Kings and rulers--Identity--Identity politics--Group identity in artHarper, 1949-2013, Elijah,(Chief PīTIKWAHANAPIWīYIN), Poundmaker, 1842-1886
- painting (image-making); collages (visual works);
- Camosun College Art Collection
- Camosun College
David Neel, born in 1960, is a professional photographer as well as a hereditary Kwakwaka'wakw artist. He works in a number of mediums including wood sculpture, photography, printmaking, and painting. He specializes in traditional mask about...
Show moreDavid Neel, born in 1960, is a professional photographer as well as a hereditary Kwakwaka'wakw artist. He works in a number of mediums including wood sculpture, photography, printmaking, and painting. He specializes in traditional mask about contemporary history, and photography of people for commercial, editorial, documentary, and fine art use. He is also a writer and a lecturer. Neel draws on his Kwagiutl heritage for his artistic direction. He inherits his name Tlat’lala’wis’ and a rich artistic heritage from his father, David Neel Sr. His father, a Fort Rupert (Tsaxis) Kwagiutl, was taught to carve by his mother, Ellen Neel (who was taught by her maternal grandfather, Charlie James), and her uncle, Mungo Martin. Neel uses the work of his ancestors as the starting point for his own interpretation of carving and design. Neel studied in Kansas and later moved to Dallas, Texas, where he had the opportunity to work with some of the country’s top photographers. He returned to Vancouver in 1986. His images appear in magazines and posters, as well as in museums and galleries in the United States and Canada. Influenced by the “concerned photographer” such as W. Eugene Smith and Henri Cartier-Bresson, Neel uses his photography, sculpture, serigraphs, and writing to comment on today’s issues. ARTIST INFO: http://www.davidneel.com/biography.php (Accessed January 3, 2017)
NOTE: See “Sisters recall the brutal last day of Oka Crisis,” from “Unreserved” with Rosanna Deerchild, September 20, 2015, for CBC coverage featuring Waneek Horn-Miller and Kaniehtiio Horn 25 years after the standoff (http://www.cbc.ca/radio/unreserved/reflections-of-oka-stories-of-the-mohawk-standoff-25-years-later-1.3232368/sisters-recall-the-brutal-last-day-of-oka-crisis-1.3234550 Accessed July 30, 2016). See "National Aboriginal Day: stories of resistance, resilience and heroes" from “Unreserved” with Rosanna Deerchild, June 18, 2017, for an interview with David Neel discussing his artistic practice and the influence of his grandmother, Ellen Neel (http://www.cbc.ca/radio/unreserved/national-aboriginal-day-stories-of-resistance-resilience-and-heroes-1.4164805 Accessed June 20, 2017). DESCRIPTION: Photo silkscreen diptych in red, black, and white inks. The left side of the diptych depicts 14-year-old Waneek Horn-Miller holding on to her 4-year-old sister, Kaniehtiio Horn, after being stabbed with a bayonet and restrained by Canadian military personnel near the Kanesatake treatment centre as they attempted to leave the standoff in Oka, Quebec on September 26, 1990 (the last day of the standoff). The original photograph was taken by Ryan Remiorz of the Canadian Press and featured widely on national news coverage. The right side of the diptych features a selection of quotes by First Nations leaders and Canadian politicians regarding the “Oka Crisis.”
TEXT ON PRINT READS: There is no questions that we have won. We have acquired an awareness among the public. We can now talk without bureaucrats sweeping issues like land rights under the rug. - FRANCIS BOOTS, MOHAWK. Maybe I’ve been too busy doing my job to get out and communicate as effectively as I should have. - TOM SIDDON, FEDERAL INDIAN AFFAIRS MINISTER. They forced the barricades up because they weren’t listening to our voices. We were forced to defend ourselves and to defend our territory. We have every right to do what we did - ELLEN GABRIEL, MOHAWK SPOKESPPERSON. This is the price of inaction and refusal to deal with an issue which then becomes a crisis. - FRANCIS DUFOUR, PARTI QUEBECOIS. In the eyes of the world we have shown Quebeckers are among the most civilized and passive people, like no other in the world. - ROBERT BOURASSA, QUEBEC PREMIER. The police on the bridge told us to get back in our cars, close the windows, lock the doors and drive as fast as we could. A chunk of concrete nearly the size of a soccer ball smashed through the window behind me and landed on my father’s chest. There was glass in his socks, in his hair. He was bleeding all over. - MOHAWK STONING VICTIM. They think they can crush the native movement with the military or the police. - GEORGE ERASMUS, ASSEMBLY OF FIRST NATIONS. It was horribly brutal. You can’t really judge what’s going on through television reports. Experiencing this disgusting scene really opens your eyes. - JOHN KIM BELL, CANADIAN NATIVE ARTS FOUNDATION. There is no doubt our relationship with Native people will have to change and that the policies, especially federal policies on land claims, will have to be modified. - JOHN CIACCIA, QUEBEC INDIAN AFFAIRS MINISTER, Every first nation in the country maintains that our sovereignty is not fully extinguished. - GEORGE ERASMUS, ASSEMBLY OF FIRST NATIONS. In the end, firmness, patience, and concern for human life have won the day. - BRIAN MULRONEY, PRIME MINISTER OF CANADA.
Purchased for the Camosun College Art Collection by the Camosun College Cultural Enhancement Committee directly from artist.
- c. 1990-1991
- Neel David (Tlat’lala’wis’) Kwakwa̱ka̱’wakw; Canadian b. 1960 - (artists (visual artist))
- Québec (Province)--History--Native Crisis, 1990--Mohawk Indians--Government relations--Mohawk Indians--Land tenure--Government, Resistance to--Art--Political aspects--Political violence in art--Indigenous art--Kwakiutl art--Art, Modern--20th century--Indigenous peoples and mass media--Canada--Politics and government--1945---Canada--Politics and government--Identity--Group identity in artHorn, KaniehtiioHorn-Miller, Waneek
- printmaking; screen printing; photography (discipline)
- Camosun College Art Collection
- Camosun College