FNIS 100 Literature Review

Option 2: Annotated Bibliography

 

Proposed title: Analysis of the representation of Indigenous issues through Indigenous Art

 

The purpose of my project is to analyse the artistic works of Indigenous artists native to British Columbia, through which they express the social issues faced by Indigenous peoples and communities, as a result of European colonisation. So far, I have decided to investigate the works of Jim Logan, Lawrence Paul Yuxweluptun, Susan Point and Sonny Assu. To do so I shall consult a diverse variety of sources, including scholarly articles, artist statements, museums and galleries as well as the resources provided by the Xwi7xwa library such as journal articles and books. I have decided to divide my research into two stages, the first being  chosing 4-6 works of art created by my chosen artists, followed by a visual analysis of their techniques and use of symbolism, depicting the social issues and themes. For the latter, I shall conduct further research on these themes and topics to not only expand my knowledge on Indigenous social issues, but to increase my understanding of the artist’s work.

 

Bibliography:

 

• Assu, Sonny. We Come to Witness: Sonny Assu in Dialogue with Emily Carr. 3 Dec. 2016.

Vancouver Art Gallery, Vancouver, British Columbia.

 

One of the artists I have decided to base my research on, has a current exhibition at the Vancouver Art Gallery, which I intend on visiting in the very near future. Thus, I can see and analyse Sonny Assu’s work up close and in person in order to get a better feel for his work. A physical visit, rather than virtually looking at works of art may allow me to notice different features and components rather than looking at the images online or in a textbook. Also, useful information may be provided on site, in the form of tours or brochures, that has yet to be published else where as the exhibition is still ongoing.

 

• Belanger, Julie. Alternatives Journal (Waterloo): Form with Function: 7 Canadian Artists Muse

on the Meaning of Environmental Art and Why we Need it.(Kelly Richardson, Peter Gibson, Ehryn Torrell, Isabelle Haryeur, Charles Stankievech, Sonny Assu, Michael Belmore). 39 Vol. Faculty of Environmental Studies, University of Waterloo, 05/01/2013. Web. 25 Feb. 2017.

 

This journal includes an article on Sonny Assu’s There Is Hope If We Rise, in which he describes how environmental art can influence people to protect and preserve the environment, by emphasising the drastic impacts of natural resource extraction which is a common issue in today’s modern era. Not only is this harmful to the environment but also to sacred ancestral lands that are demolished for profit and greed. Thus this article is insightful in terms of exploring the symbolic meaning and purpose behind Assu’s pop art and Ligwilda’xw identity inspired work.

 

• Coe, Ralph T., Irene Gordon, and Bobby Hansson. Lost and Found Traditions: Native

American Art 1965-1985. Vancouver: Douglas & McIntyre in Association with the American Federation of Arts, 1988. Print.

 

The following doesn’t necessarily directly analyse the work of a specific artist, rather explores the overall diversity in Indigenous art all across North America. The book portrays a large collection of objects and artifacts from artists and collectors from all across the globe, accentuating the diversity in Indigenous cultures and traditions through art in the form of weaving, pottery, clothing, beading and carving. Thus this book is an excellent source of  general background knowledge on the immense diversity of Indigenous art, which I can consult in the introductory stage of my research.

 

• Cousins, Emily. “Mountains Made Alive: Native American Relationships with Sacred

Land.” CrossCurrents 46.4 (1996): 497-509. Web

 

This source is an example of the type of resources I shall use for the second stage in my research.  Emily Cousins’ Mountains Made Alive: Native American Relationships with Sacred Land, is essentially a portrayal of the Native American relationship to land, with comparison to the western perspective. I will be able to apply Cousins literary work to continue my research on issues regarding land once having analysed my chosen painting by Lawrence Paul Yuxweluptun.

 

• Croes, Dale R., and Susan A. Point. Susan Point: Works on Paper. Vancouver: Figure 1, 2014.

Print.

 

Susan Point is a prominent printmaker artist from Musqueam and Works on Paper displays a large collection of her works. Inspired by the Coast Salish Culture, Point’s work illustrates a wide variety of subjects and printing techniques providing an insight into social issues and stories and legends of her Salish ancestors. Susan Point uses her work to visually aid her audience in educating themselves on her culture’s history and current social issues.

 

• Easton, N. Alexander. Canadian Journal of Native Studies: “Lower than the Angels”: The

Weight of Jim Logan’s Art. 10 Vol. Canadian Journal of Native Studies, 01/01/1990. Web. 22 Feb. 2017.

 

The focus of this article is the content and interpretation of Jim Logan’s work, a Métis artist whose work I’ll be assessing. The article provides both background information on his artistic journey as well as the influences in terms of European painting techniques and Indigenous themes, grounding Logan’s work in its social context. For example, the author refers to some of the attributes in Logan’s work contextualize the daily lives of many Indigenous peoples, through the imagery of oppression and living and poverty. As a result, this article will be highly beneficial for my research, as it addresses the materials and techniques applied to bring attention to previously unknown issues with little or no knowledge.

 

• Flicker, S., Danforth, J. Y., Wilson, C., Oliver, V., Larkin, J., Restoule, J., Prentice, T.  (2014). “Because we have really unique art”: Decolonizing research with indigenous youth using the arts. International Journal of Indigenous Health, 10(1), 16-34. Retrieved from http://bit.ly/2mzHiQo

This academic journal article is based on the research project Taking Action that was designed for Indigenous youth. Workshops were provided by artists to help build self-esteem amongst teenagers and to empower them, thus promoting better health by reconnecting them with traditions and cultural aspects that were lost as a result of oppression through banning cultural traditions and forcing generations to abandon their ancestral cultures and languages by removing them from their communities I definitely think this is article has different kind of information to provide, seeing ass it doesn’t focus on any particular artist, however outlines the importance of art in indigenous cultures and identity. In this specific context art is used as a form of medicine or survival tool, aimed at engaging youth in discussing issues such as health issues in Indigenous communities. As a result, the findings will be beneficial for introducing my research by being a great example highlighting the importance and role of art.

• Hare, J. (2002). Pushing the boundaries of tradition in art: An interview with susan point. BC Studies, (135), 163-175. Retrieved from http://bit.ly/2mGh7qh

 

In Jan Hare’s interview, Susan Point reflects on her influences and creative style, providing an insight to the creation of her work, in which she intertwines Coast Salish traditional art elements with contemporary style in new mediums. I think the information provided in this interview will be quite helpful in familiarizing myself with Susan Point and will provide the basic foundation to the style and techniques of  her prints, as well as the melange of contemporary and traditional influences.

 

• Portalewska, Agnes, and Agnes Portalewska. Cultural Survival Quarterly: Challenging Tradition, Challenging Pop Art: SONNY ASSU. 37 Vol. Cultural Survival, 03/01/2013. Web. 25 Feb. 2017.

 

In  this issue of the Cultural Survival Quarterly Magazine, Sonny Assu reflects on the mediums, themes and influences of his work in an interview. This information is crucial for my research on the “mixed heritage First Nations interdisciplinary artist” as it reflects on how Assu implements the aesthetics of popular culture and use of materials with powerful connections to his culture, to convey his messages. The themes evoked in his work question historical sociocultural values with the purpose of educating audiences on Indigenous peoples issues in North America.

 

• Ryan, Allan J., and Heather Smith. Jim Logan: The Classical Aboriginal Series. Whitehorse: Yukon Arts Centre, 1994. Print.

 

Jim Logan is one of my chosen artists whose work I will analyzing for my research. This book explores the exhibition to which the piece I used for my evidence analysis is part of, providing further information on Logan’s work, inspirations and visual analyses of his work. Thus, this book will benefit my research by providing further information on the piece of art and the overall exhibition.

 

• Shadbolt, Doris, and Emily Carr. The Art of Emily Carr. New York: Douglas & McIntyre, 2003. Print.

 

As the title suggests, this book explores the work of the well-known artist Emily Carr. It includes everything from her background to inspirations, thought processes and interpretation of Indigenous artwork. Although I wont be primarily focusing on Carr’s work, Sonny Assu’s most recent work at the Vancouver Art Gallery incorporates her work by “interrupting” Carr’s landscapes. Thus this book will be useful to comprehend Carr’s work and intentions, prior to analyzing Sonny Assu’s work.

 

• Thom, Ian M. Art BC: Masterworks from British Columbia. Vancouver: Douglas & McIntyre, 2000. Print.

 

Ian Thom’s Art BC is an insightful book on the works of visual art of both Indigenous and non-indigenous artists from British Columbia, benefitting my research by providing an immense selection of BC’s eighty-four leading artists work, including Emily Carr’s Cedar and Big Raven. Thom writes about every piece, illustrating the province’s “artistic journey”, by setting each piece into context and placing each artist as well as their work into BC’s art history.

 

• Williams, Dana. Canada’s First People: A Celebration of Contemporary Native Visual Arts. Fort McMurray, Alta.: Syncrude, 1992. Print.

 

This book was published by Syncrude Canada Ltd., “the world’s largest producer of synthetic crude oil”, to exhibit contemporary Native visual art as an “integral part of Native society and culture.” This pieces exhibited in this book reflect on how the introduction of foreign materials and foreign aesthetics have “changed” Native art. It also ensures the reader becomes aware of the fact that over the past couple decades there’s been a “resurgence of Native pride” deriving from the changes in Indigenous art reflecting on the changing social values. This book was very useful for me in my research, as it provided me with my first piece of evidence, Jim Logan’s Look Out Kids, Here Comes Another Kind of Small Pox, as well as a brief introduction to Logan’s work.

 

• Yuxweluptun, Lawrence Paul, Karen Duffek, and Tania Willard. LAWRENCE PAUL YUXWELUPTUN: UNCEDED TERRITORIES. 10 May 2016. Museum of Anthropology, Vancouver, British Columbia.

 

Back in October, I visited Lawrence Paul Yuxweluptun Unceded Territories at the Museum of Anthropology. I documented my visit for personal interest but also to attain knowledge on the European colonisation of Indigenous lands and long term impacts of breaches of treaties and Indigenous rights and communities for another assignment. Although the exhibition is no longer in progress, I intend on using my notes, initial observations and the photos I took of Yuxweluptun’s surrealism inspired work, to assist me in my research. Lawrence Paul Yuxweluptun’s work had powerful symbolism and imagery, which  conveying the issues regarding land rights, which I plan on incorporating in my research.