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Art News Canada – In the Canada Council for the Arts’ new exhibition Looking the World in the Face, the so-called ‘other’ looks back at you.

Looking the world in the eye challenges the idea of ​​”Canadian”. Image courtesy of the Canada Council for the Arts

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For years, the Canadian art world did not represent the country: the work of white artists, mostly men, was collected in art collections and on museum walls.

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But those works do not represent Canadian culture or show that many of the images were made by white people, not men.

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A new exhibition at the Canada Council for the Arts space on Elgin Street in Ottawa called Looking the World in the Face offers the same perspective.

It is filled with people’s faces and images that are often called “otherized,” curator Amin Alsaden said.

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The exhibition begins with a piece by Norval Morriseau and moves in time to works by other artists created in the past year.

Indigenous artists represent about a third of the exhibition, including Inuit artists and artists from a variety of First Nations.

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“I think it speaks to the presence of Indigenous artists in Canadian art,” says Amy Jenkins, head of the Canada Council’s Art Bank.

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Art is unique and different depending on the cultural tradition and experiences of each artist. Activities range from Haida masks to powwow dances, and from South Asian children on a paper trail to a black woman donning a mask made of local fruit.

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In Looking the World in the Face curator Amin Alsaden frames indigenous and “othered” artists as counter-narratives.

Barry Ace, an Ottawa-based artist and debendaagzijig (citizen) of M’Chigeeng First Nation, is one of those artists in the exhibit.

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Is part of a series called Super Phat Nish. It features his character Super Phat Nish standing in for Batman and explains the never-ending pop culture obsession of Robin.

Anishinaabe (Odawa) artist Barry Ace subverts stereotypes of indigenous people to promote them in his series Super Phat Nish. Photo by Barry Ace

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Created in the mid-2000s, the series is a play on pop art, reminiscent of Andy Warhol’s work on consumer culture. It was born out of a time when Ace worked directly with Indigenous youth in southern Manitoba.

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“I really felt at that time [that] a lot of Native youth, especially inner-city Native youth, didn’t have the opportunity to see themselves in pop culture,” Ace said.

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The work features Super Phat Nish’s style on canvases, old butter boxes with a Pocahontas stand-in, and fingerboards with skateboards on stickers.

The whole exhibition allows for a dialogue between the artists and the different types of artists that have been pushed aside, Alsaden said.

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“It seems to me that being seen and being seen is the first step towards inclusion, and a basis for equality,” Alsaden wrote in his curatorial essay.

Amy Jenkins speaks at the opening of the program. Image courtesy of the Canada Council for the Arts

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“But when certain members of the community are marginalized and oppressed, the demand to be recognized becomes disrespectful,” he said.

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Alsaden approached many artists and commissioned them to write their own labels for their pieces, guaranteeing the artist control over their work.

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It’s an exhibition that gives the Canada Council an opportunity to celebrate the collection while evaluating the Art Bank’s collection work, Jenkins said. The new reality of life with COVID-19 in Canada. (Nina Grossman/Newspaper)

When the virus hit, artist Brandy Saturley began to look inward. He kept his style of pop realism, but moved closer to home: the Salish Sea, his memories and his own desire to connect.

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Inside his North Saanich gallery is a collection of shells, small animal skulls and other objects that appear to line the window. On the wall is the face of a baby seal painted on a bed of Canadian Club Whiskey coasters. His new work puts donkeys in the room, many of which are a response to the flu.

Saturley, who grew up in Sooke, is known for her Canadian-inspired acrylic paintings. His Canadian art collection boasts landmarks, Tim Hortons cups and Canadian icons such as Gord Downie and a Shania Twain hockey stick. One painting depicts a Mi’kmaq actor and RCMP officer at the Vimy Ridge 100th anniversary; Another shows an old Canadian man standing over a field of red poppies. One piece shows a man standing outside the Montreal Forum, modeled after Grant Wood’s 1930 American Gothic painting. In Saturley’s description, the woman is wearing a hoodie and the man is holding a hockey stick instead of a pitchfork.

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Saturley created the hashtag #IconicCanuck for his first public art exhibition and the name has followed him as his Canadian alter ego ever since. Part of his interest in the Canadian experience comes from growing up on Vancouver Island – separated from the rest of the country by an ocean and often a very different climate.

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Despite being Canadian, Sarley felt alienated from many aspects of Canadian culture. As a guide in Canada 150, he began traveling the country, taking inspiration from people and countries – from Yellowknife to Montreal.

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“I think living on Vancouver Island, we’re not part of that stereotypical Canadian idea. I think it’s like our little biosphere here,” he said. “I thought it was really interesting to travel across Canada and see how many of these stereotypical Canadian things are things that people relate to.”

But in 2020, Saturley’s world is much smaller. Like many, he began digesting the news every day, isolating and distancing his family.

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“It was a year where I allowed myself to paint what I felt I had to paint,” he said. “Indeed, what inspires you is what is happening around you, all the time, everything you hear and see and touch.”

On Canada Day, he painted The Big Hug, which shows a group of Canadians embracing each other, an image of physical intimacy that COVID-19 has made impossible.

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“For me, it’s about being able to hug and be close, especially having older parents that I can’t hug at that time,” she said.

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Another image shows two people looking out of a window as the TV shows the message ‘Please Stand By’ from a disappearing sign, apparently indicating a desire to wait. His paintings Time in a Bubble and To the See are no less, focusing on landscape, color and emotion, with island scenes embedded in circles – melting the The beautiful sunset of the West lazily in the sun.

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“I think [Time in a Bubble], it was at the beginning of COVID, for me it was like ‘here’s this great Vancouver Island life, I’m rowing out and there’s a sunset.’ and it is beautiful and very good.but now it is a memory puzzle.

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“I care, so it’s something I think about … for times when I’m sad or feel like I can’t connect with people.”

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Sarley believes that it is important that his art continues to influence society and culture throughout the epidemic.

“I think the interior should say something about the time we’re in. I mean, sometimes I make paintings that are just beautiful paintings. But sometimes I make paintings that talk about subjects that are happening in the world,” he said. “I think both are important.”

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Have something to add to this story, or something we should report? Email: Follow us on Instagram. Like us on Facebook and follow us on Twitter. On April 18, Canada Post released the Animal Mothers and Babies stamp set of two special wildlife conservation animals – the sea otter and the red neck.

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The stamps show a mother otter with her baby and a mother robin with her two babies. Images are created using an embroidery design.Canada Post

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Two Canada Post stamps have been released through a collaboration with Teme-Augama Anishnabai artist Caroline Brown and Halifax artist Meredith MacKinlay of Egg Design.

The Animal Mothers and Babies stamps feature a mother otter with her baby and a mother robin with her two babies. The images are created using an embroidery design.

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Brown, who grew up in Temagami and attended high school in New Liskeard in the late 1970s, now lives in Toronto.

He said his mother, Caroline Brown, always kept him stocked with all the equipment he needed as a child.

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Brown left Temagami to attend post-secondary school in Toronto, but “I met someone who worked with (astronaut) Carl Sagan (on the television series Cosmos) and wanted to take some pictures of each.”

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He was asked to go to Los Angeles to do the scenes related to the episode “Gravity In Wonderland” where Alice, from Alice In Wonderland goes to the tea party.

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He stayed in Los Angeles to work in television, and got his break acting on TV. He has worked on various other projects such as model building, animation and more.

“It always worked for me

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