Showing posts with label Woodland Style Art. Show all posts
Showing posts with label Woodland Style Art. Show all posts

Kakegamic, Joshim

Joshim Kakehamic was born in 1952 in Sandy Lake First Nation, Ontario. Influenced by his brother-in- law Norval Morrisseau, Kakegamic began to paint in his teens. Kakegamic preferred to work on smaller-scale pieces, creating complex imagery that engergized every inch of the surface. He developed his Woodland style of art while studying with Carl Ray and Morrisseau during their tour of northern reserves. Kakegamic eventually joined Morrisseau and Ray in the late1960s in demonstrating art in Ontario schools. He was included in a group showing in 1969, which was quickly followed by a solo workshop at Fanshaw College.
In 1973, after achieving recognition as a professional artist in his own right, Joshim Kakegamic partnered up with his brothers Goyce and Henry to found the Triple K silk screening Co-operative. The Co-operative was founded under the belief that Indigenous artists should control their own art production, from design conception to marketing of final product.  Operating under this mandate, Triple K distributed high quality silk screen prints to over 50 galleries across Canada, the United States, and Europe. The Co-operative was established in downtown Red Lake nearby the home of the artists and close to the origins of the Woodland School of art in North Western Ontario. This location was far away from southern Ontario and disrupted the prevailing belief that southern cities like Toronto were the core of the province’s strong art scene. In 1977, the Royal Ontario Museum recognized the importance of Triple K’s to the redefinition contemporary art centres by holding an exhibit of its silk screens.

During the 1970s and 1980s, Kakegamic took part in a number of his own solo and group exhibitions throughout Ontario, other sites in Canada, as well as on a group show "Woodland Indian Art Exhibition" at Canada House in London, England and Lahr, Germany. One of his major solo exhibitions took place at Toronto's Aggregation Gallery in 1977. His work remains in private and public collections in Canada and abroad.

Loon
by
Kakegamic, Josh

Untitled
by
Kakegamic, Josh

Collections
Royal Ontario Museum
Simon Fraser University Art Center
Canadian Museum of Civilization
McMicheal Canadian Art Collection
Thunder Bay Art Gallery

Work Cited

Kakegamic, Roy


Little Charlie Wenjack's Escape from Residential School
by
Kakegamic, Roy

Untitled 
by
Kakegamic, Roy
Creation 
by
Kakegamic, Roy

Works Cited

Morrisseau, Norval

Norval Morrisseau, also known as Copper Thunderbird, is an Anishinaabe artist who was born in 1931 in Sandy Lake First Nation, near Thunder Bay, Ontario. He was brought up by his maternal grandfather Moses Potan Nanakonagos, a shaman who strongly influenced Morrisseau’s life and works.
Morrisseau began developing his artistic talent at a young age. During his youth he started drawing on rocks or in damp sand. These practises eventually gave way to early attempts at painting that used ink, pastels, and crayons on birch bark, brown paper, and cardboard. The result was a professional artistic process that attempted to transfer tradition to a new strategy and medium.
 In his approach to painting, Morrisseau assumed the drawing style from the Mide Scrolls and converted it to modern canvas. This style became known as the Woodland School of Art and has inspired the work of many subsequent Indigenous artists. Distinctive aspects of the style include: locating the action of the work within the people or figures featured, employing plain backgrounds, organically connection of figures, and bright bold use of colour with black outlines. His work came under considerable debate within Indigenous communities because many believed the sacred drawings and content of the Mide Scrolls was not intended to exist outside of the scrolls or be accessed outside of Anishinaabe circles. Morrisseau and his supporters maintain that his work is an essential process in maintaining links between cultural tradition, history and future generations.
Person with Hat
by
Morrisseau, Norval
In 1962, Morrisseau went to the Pollack Gallery in Toronto and offered to sell his painting on birch bark to owner and artist Jack Pollock. Pollock decided to commercially exhibit Morrisseau and in doing so would change the way the public understood Indigenous art and artists. This first show was a huge sensation and was followed by a long and successful public career as a contemporary artist.  Between 1963 and 1993, Morrisseau’s work was displayed in twenty-two group exhibitions and twenty-five solo exhibits between 1962 and 2001. His works continued to be featured in collections internationally.
Thunderbirds
by
Morrisseau, Norval

Education
A self-taught artist, Norval would subsequently be the recipient of several honourary degrees.
Selected Exhibitions
'Norval Morrisseau and the Emergence of the Image Makers' - Art Gallery of Ontario, 1984
Canadian Museum of Civilization, Ottawa, 1991
The Drawing Center, New York, 2000
Collections
Art Gallery of Ontario
McMichael Gallery
National Gallery of Canada
Red Lake Regional Heritage Centre
Work Cited
Seller, Amanda. “Profile of Noreval Morrisseau, (1932): Ojibwa, Artist, and Storyteller”.  Ed. Newhouse, David. Hidden In Plain Sight: Contributions of Canadian Aboriginal Peoples to Canadian Identity and Culture. Toronto: University of Toronto Press Inc, 2007.
  

Panamick, Martin

Martin Panamick an artist born in M'Chigeeng First Nation on Manitoulin Island in 1956.

His artistic talent was recognized early, allowing him to studied art at the Manitou Summer Art program while still a teenager. Part of the second wave of Woodland School Artists, Panamick was one of the original young people who participated in 1966 in the Manitou Arts Foundation summer school on Schreiber Island. The summer program had started in response to Norval Morrisseau's artistic success in Toronto. Morrisseau's friends Daphne Odjig and Carl Ray decided to encourage young people to consider a career in the arts.
Pamamick’s works were executed as paintings, ink drawings, and silk screen prints. His designs were used as illustrations in educational material such as Why the Beaver has a Broad Tail and Ko-Ko-Ko the Owl. He saw this work as being part of larger efforts to strengthen cultural knowledge.
 He also was commissioned to create images for commercial ventures such as hasty notes, calendars, and panels for the Council of Chief’s Chamber at M'Chigeeng. Martin's major acrylic works remain in various permanent collections.
Fishermen Fishing
by
Panamick, Martin

 Work Cited
http://www.native-art-in-canada.com/martinpanamick.html

http://www.trentu.ca/admin/artcollection/htmlfinearts/2004.005.1.htm

Thomas, Roy

Roy Thomas is an Anishinaabe artist who resided in Thunder Bay, Ontario. Without any formal training, Thomas cited the spirit of Anishinaabe elders and art as his teachers.
In the 1980s, art critics linked him with "the younger generation" of Woodland artists after Norval Morriseau and Daphne Odjig in a period bridged by Carl Ray. His strength lay in his design ability and his bold use of line and color. While his work has been classified as a Woodland style of art of bold colourations framed by black form lines, the focus of his pieces have always stressed content over style. He painted his experiences of the traditional cultural stories told to him by his grandparents. Thomas believed that his grandmother's spirit was present with him while he painted, and honoured her by signing his works with a small crow, the name she had given him.
He had numerous one-man exhibitions and participated in several group shows around the world. His work is represented in major Aboriginal Art Collections across Canada and in the US, Europe and Japan.

"Orange Bird, Big and Little"
by
Thomas, Roy

Education
Primarily Self-Taught
Exhibitions
Pollock Gallery (solo shows) 1977, 1978, 1979, 1980
The Image Makers, Art Gallery of Ontario, 1984
Thunder Bay Art Gallery (solo shows) 1983, 1989, 1991
Maslak McLeod Gallery, 1994
Royal Ontario Museum, 1996
Collections
National Gallery of Canada
Art Gallery of Ontario
Canadian Museum of Civilization, Ottawa
McMichael Canadian Collection, Kleinburg
Other major collections across Canada, the US, Europe and Japan.

Work Cited
http://www.ahnisnabae-art.com/roy-thomas.html