Visual Arts Program
 

Saturday, June 10, 2006 — Saturday, July 15, 2006

Aboriginal Sketch Club

Pimup Toon Kitchi Animoosh (The Great Dog Race)

Presented at:
Hallwalls

Aboriginal Sketch Club - <em>Pimup Toon Kitchi Animoosh (The Great Dog Race)</em>
Aboriginal Sketch Club - <em>Pimup Toon Kitchi Animoosh (The Great Dog Race)</em>

Organized by Aboriginal curators Leanne L’Hirondelle and Louis Ogemah, PIMUP TOON KITCHI ANIMOOSH brings together six Native-Canadian artists (Cheyenne Henry, Melissa Wastasecoot, Todd L'Hirondelle, John Schneider, Riel Benn) in a series of works that address racial stereotypes and cultural appropriation through the use of indigenous peoples as the central icons in sports’ team logos, mascots, and nicknames.

The exhibition will be presented as an authentic sports store—featuring all the requisite accoutrements of contemporary sports culture: hats, jerseys, towelettes, and bobblehead dolls—with the distinguishing feature of a redirected point of view. The shop of the Aboriginal Sketch Club will feature the official products of notable teams such as the North American Stealers, the Premium Crackers, Cleveland Honkies, and the Vatican City Pope ‘n’ Pedophiles alongside products of other teams such as the Cleveland Indians and Edmonton Eskimos.

Collapsing real and fictional sports teams into the same retail arena, the exhibition brings to light the less-than-honorable qualities often incorporated into such logos—such as their emphasis on savagery and combativeness—and calls attention to the way Aboriginal peoples are displayed, commodified, and essentially owned by non-Aboriginals.

To view publication, please visit our archives.


Some publications related to this event:
THE ABORIGINAL SKETCH CLUB (PIMUP TOON KITCHI ANIMOOSCH/THE GREAT DOG RACE) - 2006
June, 2006 - 2006

 
 
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Inspired by Jungian psychology and mythology, Ashley Smith's process is an alchemical cauldron where personal narratives about womanhood, motherhood, research about art, stories, and myths of the wild woman archetype who represents the instinctive nature of woman are boiled together and transmuted to create abstract sculptural forms and installations that sprout from the wall and grow from the ground.
 

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Rohlfs' work springboards from a clean surface appearance and concise formal gestures into a hybridized set of works that make the artist seem part minimalist, part colorist, part humorist. Rohlfs' sculptural gestures are so adroitly specific and contained that each element—a field of color, a drooping form, a slab of shelving—takes on more imminent and emphatic articulation ...