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Earlier this year, Horn showcased Seeds—her directorial debut that she also wrote, produced, and starred in.
Hailing from Kinngait (also known as Cape Dorset), Nunavut, Ashoona’s colourful, otherworldly creations speak to Inuit culture through a contemporary lens.
When artist Kent Monkman, known for his critiques of recorded history, says he wants to start a dialogue between his paintings and objects from the holdings of an old guard museum, you can guarantee the conversation won’t be an easy one. But you can also be certain it will result in important contributions to socio-political and contemporary-art discourse.
This fall, Scott debuted Cedar in Sec-he Sky, a capsule collection that includes nine new earring styles alongside—for the first time—nine garments and nine acrylic-collage artworks
In a global society, we need to be mindful of how we incorporate these traditional and richly significant cultural fashions. “It’s not appropriate for someone outside the culture, who isn’t a chief or matriarch or dancing on behalf of one, to wear a Chilkat or Naaxiin ceremonial robe, because the pieces are for a specific use and there’s something sacred about them,” O’Brien says.
In her 30-year career, Claxton has amassed a multidisciplinary body of work as expansive as the sky.
Hunt’s process involves moving between mediums, and speaking with him, one can tell he lives in motion, with thoughts and words carefully chosen with a fluid precision.
In the lead-up to National Indigenous Peoples Day, on June 21, the Montreal Museum of Fine Art (MMFA) is spotlighting exemplary Indigenous contemporary art across its online platforms for public viewing.
Ashoona seems to have retained what so many adults lose in life: the ability to create from an infinite realm of imagination.
