Candice Hopkins is the Elizabeth Simonfay Curatorial Resident, Indigenous Art at the National Gallery of Canada and the former director and curator of exhibitions at the Western Front, Vancouver. She has an MA from the Center for Curatorial Studies and Art in Contemporary Culture, Bard College, New York, where she was awarded the Ramapo Curatorial Prize for the exhibition Every Stone Tells a Story: The Performance Work of David Hammons and Jimmie Durham (2004). Her writing has been published by Canadian Art, The Fillip Review, MIT Press, BlackDog Publishing, New York University, the Banff Centre Press, the Alberta Art Gallery, the Eiteljorg Museum, Revolver Press, and the National Museum of the American Indian among others. She has spoken at venues including the Witte de With, Tate Modern, Tate Britain, the Dakar Biennale, the Denver Art Museum, and the University of British Columbia. Her curatorial projects include Deeds/Nationsfor Urban Shaman: Contemporary Aboriginal Art in Winnipeg and Recipes for an Encounter, co-curated with Berin Golonu at the Dorsky Gallery in New York. Hopkins is co-editor, with Marisa Jahn and Berin Golonu, of Recipes for an Encounter published by the Western Front (2009) as well as The Second Particle Wave Theory: As Performed on the Banks of the River Wear, a Stone’s Throw from S’underland and the Durham Cathedral, an artist book by Jimmie Durham, co-edited with Robert Blackson (2005).
Curator, scholar, writer, and media artist Steven Loft is a Mohawk of the Six Nations. In 2010 he was named Trudeau National Visiting Fellow at Ryerson University in Toronto, where he continues his research and critical writing on Indigenous art and aesthetics. Formerly he was Curator In Residence, Indigenous Art at the National Gallery of Canada; Director/Curator of Urban Shaman: Contemporary Aboriginal Art, Canada’s largest Aboriginal artist-run public gallery; Aboriginal Curator at the Art Gallery of Hamilton; and Artistic Director of the Native Indian/Inuit Photographers’ Association. He has curated exhibitions both nationally and internationally and has written and lectured extensively on Indigenous art and cultural practice. Loft co-edited Transference, Technology, Tradition: Aboriginal Media and New Media Art, published by the Banff Centre Press in 2005. This book of essays by artists, curators, and scholars frames the landscape of contemporary Aboriginal media art, the influence of Western criticism and standards, and the liberating advent of technologies including video and online media.
Lee-Ann Martin is the Curator of Contemporary Canadian Aboriginal Art at the Canadian Museum of Civilization in Gatineau, Québec and former Head Curator of the MacKenzie Art Gallery in Regina, Saskatchewan. She has curated, written, and lectured extensively on contemporary Aboriginal art both nationally and internationally over the past twenty-five years. Martin’s curatorial projects include Bob Boyer: His Life’s Work for the MacKenzie Art Gallery; Alex Janvier: His First Thirty Years, 1960-1990 for the Thunder Bay Art Gallery, Thunder Bay, Ontario; and Au fil de mes Jours (In My Lifetime) for the Musée national des beaux-arts du Québec in Québec City, all of which toured nationally. As Curatorial Fellow with the Walter Phillips Gallery, Banff, Alberta, she curated the exhibition Mapping Our Territories; co-organized Communion and other Conversations: A Thematic Residency for Indigenous Artists on Christianity and Colonialism; and co-organized the Aboriginal curatorial symposium Making a Noise whose publication she also edited. Martin has also co-curated several exhibitions that toured Canada, includingThe Powwow: An Art History with Bob Boyer; EXPOSED: The Aesthetics of Aboriginal Art with Morgan Wood; and INDIGENA: Perspectives of Indigenous Peoples on 500 Years—which also toured internationally—with Gerald McMaster. Her writing has been published by Oxford University Press, the University of Washington Press, the Banff Centre Press, and the National Museum of the American Indian, among others.
Winnipeg-based Jenny Western is a curator, writer, and educator. She holds an undergraduate degree in History from the University of Winnipeg and a Masters in Art History and Curatorial Practice from York University in Toronto. While completing her graduate studies, she accepted a position at the Art Gallery of Southwestern Manitoba in Brandon where she was Curator of Contemporary/Aboriginal Art for two years. She has curated exhibitions for Urban Shaman: Contemporary Aboriginal Art, the Portage and District Arts Centre, aceartinc., the Manitoba Crafts Council, and the Costume Museum of Canada. Western has held positions as Aboriginal Curator in Residence with Plug In Institute of Contemporary Art and Urban Shaman, Adjunct Curator at the Art Gallery of Southwestern Manitoba, and mentor in the Mentoring Artists for Women’s Art’s 2010/2011 Foundation Mentorship Program. As a scholar, her research interests include museological and collection practices, identity and representation, and rural and urban landscapes. Western is a participating member of The Ephemerals, an all-female collective of Indigenous artists and curators.
Sébastien Aubin is a proud member of the Opaskwayak Cree nation. Born in Winnipeg, Manitoba, he moved to Aylmer, Québec, at the age of three. After earning a Bachelor of Fine Arts, with a focus on graphic design, from the University of Québec in 2003, he began his career with Kolegram, a graphic design studio in Gatineau. Aubin has since made his mark as a freelance graphic artist designing catalogues and publications for artists and art galleries in Winnipeg, Montréal, and Ottawa. His design and print work engages and challenges stereotypical Aboriginal imagery and symbolism. Sébastien Aubin lives in Winnipeg where he is a member of ITWÉ, a collective dedicated to research, creation, production, and education in the field of Aboriginal digital culture.
Sherry Farrell Racette
Interdisciplinary scholar Sherry Farrell Racette maintains an active art and curatorial practice. She holds a BFA from the University of Manitoba, an MEd in Curriculum and Instruction from the University of Regina, and an Interdisciplinary PhD from the University of Manitoba. Farrell Racette was the 2009–2010 Anne Ray Fellow at the School for Advanced Research, Santa Fe, New Mexico, and is currently teaching at the University of Manitoba in the departments of Native Studies and Women and Gender Studies.
Copy Editor and Publication Coordinator
Lin Gibson is a Toronto artist, writer, and freelance editor whose client roster includes the Justine M. Barnicke and Gendai galleries, both in Toronto, the Leonard & Bina Ellen Gallery in Montréal and the magazine esse arts + opinions/revue d’art actuel. She is the editor of afterthoughts published by YYZ Books and Gordon Lebredt: Nonworks 1975–2008 co-published in 2011 by Plug In (ICA) and the Centre for Contemporary Canadian Art. Gibson holds a BA from the University of Manitoba and did her graduate work in the Sociology and Equity Studies department at the Ontario Institute for Studies in Education at the University of Toronto.
Joane Cardinal-Schubert 1942–2009
Born in Red Deer, Alberta, Joane Cardinal-Schubert (Blood) attended the Alberta College of Art and Design and the University of Calgary. She was an important senior artist and arts activist whose contributions were key to the evolution of contemporary Canadian Aboriginal art. She was inducted into the Royal Canadian Academy (RCA) in 1985, received the Commemorative Medal of Canada in 1993, the Queen’s Jubilee Medal in 2002, and an Honorary Doctorate from the University of Calgary in 2003. A twenty-year retrospective of her work, which toured nationally for three years, was organized by Calgary’s Muttart Art Gallery in 1997. “Flying with Louis” is an excerpt from a keynote address delivered by Joane Cardinal-Schubert at the 2003 Aboriginal Curatorial Symposium at the Banff Centre.
Born in Regina and raised in Edmonton, David Garneau is Associate Professor of Visual Arts at the University of Regina. He earned a BFA in Painting and Drawing and an MA in English Literature from the University of Calgary. Prior to moving to Regina in 1999 he taught at the Alberta College of Art and Design. His practice includes painting, drawing, curating, and critical writing and frequently engages with issues of nature, history, masculinity, and Aboriginal identity. His solo exhibition Cowboys and Indians (and Métis?) toured Canada from 2003 to 2007. Road Kill, also a solo exhibition, travelled throughout Saskatchewan in 2011. Garneau’s paintings are in the collections of the Parliament of Canada, the Glenbow Museum in Calgary, the Mackenzie Art Gallery in Regina, the Saskatchewan Arts Board, and the Alberta Foundation for the Arts, as well as the Canadian Museum of Civilization and the Indian and Inuit Art Centre, both in Gatineau, Québec. He has curated several large group exhibitions: The End of the World (as we know it), Picture Windows: New Abstraction, Transcendent Squares, Sophisticated Folk, Contested Histories, Graphic Visions, TEXTiles, and Making it Like a Man! Garneau was a co-founder and co-editor of Artichoke and Cameo magazines.
Richard William Hill
Richard William Hill is a curator, critic, and art historian of Cree heritage. His areas of interest include museums, curation, contemporary art, Indigenous North American art, and the history of Canadian and American art. As a curator at the Art Gallery of Ontario he oversaw the first significant effort to include North American Aboriginal art and ideas in the permanent collection galleries. In 2004 he curated Kazuo Nakamura: A Human Measure at the AGO and in 2005 he co-curated, with Jimmie Durham, The American West at Compton Verney in the UK. His curatorial project The World Upside Down originated at the Walter Philips Gallery at the Banff Centre and travelled to the Art Gallery of Greater Victoria in 2009 and the Musée d’art de Joliette in 2010. Hill’s essays have appeared in numerous books, exhibition catalogues, and periodicals. He has a long association with the art magazine Fuse, where he was a member of the board and editorial committee and remains a contributing editor. He is currently writing a book on the problem of agency in the art of Jimmie Durham, the subject of his PhD thesis.
Winnipeg-based Jaimie Isaac, a member of Sagkeeng First Nation, is a writer, curator, artist, and arts administrator. She holds a Bachelor of Arts in Art History and an Arts and Cultural Management Certificate from the University of Winnipeg and is pursuing a graduate degree in Interdisciplinary Studies at the University of British Columbia (Okanagan). In 2010 she was the visual arts coordinator for the Truth and Reconciliation Commission’s inaugural national event in Winnipeg. Previously she held the position of Aboriginal Programs and Outreach Manager with the Arts and Cultural Industries Association (Manitoba). Isaac has worked with boards, collectives, juries, and artist-run centres at both the local and national level. She is a founding member of The Ephemerals, a female artist/curatorial collective in Winnipeg and volunteers with both the Aboriginal Curatorial Collective and the Aboriginal Manitoba Music board of directors. Her writing has been published in newspaper columns, exhibition catalogues, and on online.
Victor Masayesva Jr.
Hopi photographer and videomaker Victor Masayesva Jr. holds a BA in Literature from Princeton University and teaches visual arts in Hotevilla, Arizona. Masayesva began working with video in 1980, initially teaching high school students how to document the oral histories of Hotevilla elders. He is known for his expressive and experimental style and was selected for a Media Arts Fellowship in 1988, the year the fellowships were founded by the Rockefeller Foundation. He received funding for his film Imagining Indians during the first Open Call of ITVS in 1991 and has also been funded by the Ford Foundation and the National Endowment for the Arts. In 1995 Masayesva won the American Film Institute’s Maya Deren Award for Independent Film and Video Artists. His work has been widely exhibited at museums such as the Art Institute of Chicago, the Museum of Modern Art, the Museum of Northern Arizona, and the Whitney Museum of Art. His book Husk of Time: The Photographs of Victor Masayesva was published in 2006 by the University of Arizona press and he is the co-editor of the earlier Hopi Photographers/Hopi Images.
Niigaanwewidam James Sinclair
Niigaanwewidam James Sinclair’s critical and creative work has been translated into several languages and can be found in publications as diverse as Prairie Fire,Canadian Dimension, and the Winnipeg Free Press. In 2009 he co-edited, with Renate Eigenbrod, a double issue of the Canadian Journal of Native Studies(Volume 29, 1 and 2) focused on responsible, ethical, and Indigenous-centred literary criticism of Indigenous literature. Other short stories and essays have appeared in Tales from Moccasin Avenue, Across Cultures/Across Borders: Canadian Aboriginal and Native American Literatures, Stories Through Theories/Theories Through Stories: North American Indian Writing, Storytelling, and Critique, and Troubling Tricksters: Revisioning Critical Conversations. His writing can also be found in The Exile Book of Native Canadian Fiction and Drama published in 2011. Originally from St. Peter’s (Little Peguis) First Nation in Manitoba, Canada, Niigaanwewidam James Sinclair now lives in Winnipeg.
A curator of much repute, Megan Tamati-Quennell (Te Atiawa, Ngati Mutunga, Ngai Tahu, Kati Mamoe) has been at the forefront of developments in contemporary Māori and Indigenous art in New Zealand for more than two decades. One of the first curators of contemporary Māori art, she began her practice in 1990 at the National Art Gallery of New Zealand. She has also worked within the context of an Iwi, as Arts Development Facilitator for one of her tribes. She curated the first major survey of Ngai Tahu taonga (cultural treasures) and art—Mo Tatou, The Ngai Tahu Whanui exhibition—which was shown at Te Papa from 2006 to 2009 and subsequently travelled to venues on New Zealand’s South Island. In 2008 she commissioned Ko te aroha, mai i te aroha, a large-scale installation work by Māori artist Lisa Reihana, for Te Papa and in 2009 curated Urban (Almost) Rituals for One Day Sculpture, a series of temporal exhibition projects that occurred in different locations throughout the country over the span of one year. She was a guest speaker at the opening week forum of the 2010 Sydney Biennale and in 2011 was a contributor to the Adelaide exhibition Stop(the)Gap/Mind(the)Gap: International Indigenous art in motion, which included twenty artists from New Zealand, Australia, Canada, and the United States. Megan Tamati-Quennell lives in Wellington.
Loretta Sarah Todd
Writer, director, producer Loretta Sarah Todd self-identifies as a Cree/Métis/White woman. She has attended the Screenwriters Lab at the Sundance Institute, presented her films at numerous festivals, and been the recipient of many awards. Known for her lyrical, expressionistic imagery combined with strong storytelling skills and talents, Todd tells truths that are haunting, funny, and real. She created, developed, and serves as creative producer on, Tansi! Nehiyawetan, a children’s series that combines animation, storytelling, music videos, games, and adventures—all in the service of learning the Cree language. Tansi! Nehiyawetan is in its third season with the Aboriginal Peoples Television Network. Todd is also developing a drama series, Skye and Chang, as well as her first feature, Monkey Beach, based on the novel by Eden Robinson.