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Mythologizing Norval Morrisseau examines the complex identities assigned to Anishinaabe artist Norval Morrisseau. Was he an uneducated artist plagued by alcoholism and homelessness? Was Morrisseau a shaman artist who tapped a deep spiritual force? Or was he simply one of Canada’s most significant artists? Carmen L. Robertson charts both the colonial attitudes and the stereotypes directed at Morrisseau and other Indigenous artists in Canada’s national press. Robertson also examines Morrisseau’s own shaping of his image. An internationally known and award-winning artist from a remote area of northwestern Ontario, Morrisseau founded an art movement known as Woodland Art developed largely from Indigenous and personal creative elements. Still, until his retrospective exhibition at the National Gallery of Canada in 2006, many Canadians knew almost nothing about Morrisseau’s work. Using discourse analysis methods, Robertson looks at news stories, magazine articles, and film footage, ranging from Morrisseau’s first solo exhibition at Toronto’s Pollock Gallery in 1962 until his death in 2007 to examine the cultural assumptions that have framed Morrisseau.
The first book to examine the role of Canada’s newspapers in perpetuating the myth of Native inferiority. Seeing Red is a groundbreaking study of how Canadian English-language newspapers have portrayed Aboriginal peoples from 1869 to the present day. It assesses a wide range of publications on topics that include the sale of Rupert’s Land, the signing of Treaty 3, the North-West Rebellion and Louis Riel, the death of Pauline Johnson, the outing of Grey Owl, the discussions surrounding Bill C-31, the “Bended Elbow” standoff at Kenora, Ontario, and the Oka Crisis. The authors uncover overwhelming evidence that the colonial imaginary not only thrives, but dominates depictions of Aboriginal peoples in mainstream newspapers. The colonial constructs ingrained in the news media perpetuate an imagined Native inferiority that contributes significantly to the marginalization of Indigenous people in Canada. That such imagery persists to this day suggests strongly that our country lives in denial, failing to live up to its cultural mosaic boosterism.
Norval Morrisseau (1932–2007), Ojibway shaman-artist, drew his first sketches at age six in the sand on the shores of Lake Nipigon. By the end of his tumultuous life, the prolific self-taught artist was sought by collectors and imitated by forgers. Critics, art historians and curators alike consider him one of the most innovative artists of the twentieth century. Norval Morrisseau: Man Changing Into Thunderbird is an innovative and rich biography of this charismatic and troubled figure. Drawing upon years of extensive research, including interviews with Morrisseau himself, Armand Ruffo evokes the artist’s life from childhood to death, in all its vivid triumphs and tragedies. Ruffo draws upon his own Ojibway heritage and experiences to provide insight into Morrisseau’s life and iconography from an Ojibway perspective. Captivating and readable, this is a brilliantly creative evocation of the art and life of Norval Morrisseau, a life indelibly tied to art.
This book shares the life story of Anishinaabe artist Rene Meshake in stories, poetry, and Anishinaabemowin “word bundles” that serve as a dictionary of Ojibwe poetics. Meshake was born in the railway town of Nakina in northwestern Ontario in 1948, and spent his early years living off-reserve with his grandmother in a matriarchal land-based community he calls Pagwashing. He was raised through his grandmother’s “bush university,” periodically attending Indian day school, but at the age of ten Rene was scooped into the Indian residential school system, where he suffered sexual abuse as well as the loss of language and connection to family and community. This residential school experience was lifechanging, as it suffocated his artistic expression and resulted in decades of struggle and healing. Now in his twenty-eighth year of sobriety, Rene is a successful multidisciplinary artist, musician and writer. Meshake’s artistic vision and poetic lens provide a unique telling of a story of colonization and recovery. The material is organized thematically around a series of Meshake’s paintings. It is framed by Kim Anderson, Rene’s Odaanisan (adopted daughter), a scholar of oral history who has worked with Meshake for two decades. Full of teachings that give a glimpse of traditional Anishinaabek lifeways and worldviews, Injichaag: My Soul in Story is “more than a memoir.”
Today’s pluralist and multicultural society raises questions about how to teach religiously and ethnically diverse students in Catholic schools. A Catholic Philosophy of Education addresses these challenges by examining the documents from the Roman Congregation for Catholic Education alongside the writings of Jacques Maritain and Bernard Lonergan. Mario D’Souza proposes a contemporary formulation for a Catholic philosophy of education in which the ideals of Catholicism form the basis for the mission of the Catholic school. Drawing on the Church’s educational documents, and informed by Maritain and Lonergan, D’Souza explains how the unifying anthropology of Catholic education enables Catholic schools to serve amidst diversity by avoiding the extremes of religious exclusivism and fundamentalism, on the one hand, and relativism and individualism, on the other. He explores the aims of Catholic schools in relation to students, teachers, and society, and the relationship between goodness, discipline, and knowledge. He argues that students must be educated for personal and communal freedom and authenticity, and to strive for the common good, suggesting how a Catholic philosophy of education can provide the framework for such personal and communal transformation. Essential reading for new and experienced Catholic educators, A Catholic Philosophy of Education demonstrates that Maritain and Lonergan have much to offer in service of an education that is liberating, instructive, illuminating, and integrative.
Bringing together fifteen scholars of art and culture, Unsettling Canadian Art History addresses the visual and material culture of settler colonialism, enslavement, and racialized diasporas in the contested white settler state of Canada. This collection offers new avenues for scholarship on art, archives, and creative practice by rethinking histories of Canadian colonialisms from Black, Indigenous, racialized, feminist, queer, trans, and Two-Spirit perspectives. Writing across many positionalities, contributors offer chapters that disrupt colonial archives of art and culture, excavating and reconstructing radical Black, Indigenous, and racialized diasporic creation and experience. Exploring the racist frameworks that continue to erase histories of violence and resistance, this book imagines the expansive possibilities of a decolonial future. Unsettling Canadian Art History affirms the importance of collaborative conversations and work in the effort to unsettle scholarship in Canadian art and culture.
This companion volume to an exhibition at the National Museum of the American Indian in New York reveals how Anishinaabe (also known in the United States as Ojibwe or Chippewa) artists have expressed the deeply rooted spiritual and social dimensions of their relations with the Great Lakes region. Featuring 70 color images of visually powerful historical and contemporary works, Before and After the Horizon is the only book to consider the work of Anishinaabe artists overall and to discuss 500 years of Anishinaabe art history.
His unique vision first came to public attention more than forty years ago. The life's work of Norval Morrisseau, founder of the "Woodland" or "Legend" style of painting-now known as Anishnaabe painting-is showcased in some sixty works drawn from public and private collections across Canada.
This companion consists of chapters that focus on and bring forward critical theories and productive methodologies for Indigenous art history in North America. This book makes a major and original contribution to the fields of Indigenous visual arts, professional curatorial practice, graduate-level curriculum development, and academic research. The contributors expand, create, establish and define Indigenous theoretical and methodological approaches for the production, discussion, and writing of Indigenous art histories. Bringing together scholars, curators, and artists from across the intersecting fields of Indigenous art history, critical museology, cultural studies, and curatorial practice, the companion promotes the study and dissemination of Indigenous art and stimulates new conversations on such key areas as visual sovereignty and self-determination; resurgence and resilience; land-based, embodied, and nation-specific knowledges; epistemologies and ontologies; curatorial and museological methodologies; language; decolonization and Indigenization; and collaboration, consultation, and mentorship.
A compelling, harrowing, but ultimately uplifting story of resilience and self-discovery. A Two-Spirit Journey is Ma-Nee Chacaby’s extraordinary account of her life as an Ojibwa-Cree lesbian. From her early, often harrowing memories of life and abuse in a remote Ojibwa community riven by poverty and alcoholism, Chacaby’s story is one of enduring and ultimately overcoming the social, economic, and health legacies of colonialism. As a child, Chacaby learned spiritual and cultural traditions from her Cree grandmother and trapping, hunting, and bush survival skills from her Ojibwa stepfather. She also suffered physical and sexual abuse by different adults, and in her teen years became alcoholic herself. At twenty, Chacaby moved to Thunder Bay with her children to escape an abusive marriage. Abuse, compounded by racism, continued, but Chacaby found supports to help herself and others. Over the following decades, she achieved sobriety; trained and worked as an alcoholism counsellor; raised her children and fostered many others; learned to live with visual impairment; and came out as a lesbian. In 2013, Chacaby led the first gay pride parade in Thunder Bay. Ma-Nee Chacaby has emerged from hardship grounded in faith, compassion, humour, and resilience. Her memoir provides unprecedented insights into the challenges still faced by many Indigenous people.