THE MYTH OF THE CANVAS
THE MYTH OF WILDERNESS AND THE LANDSCAPE PAINTING OF THE GROUP OF SEVEN FROM AN ECOCRITICAL PERSPECTIVE
THURSDAY, MAY 27, 2021, 4 p.m.
In the final lecture of the MYTHOS LEINWAND series, art historian Isabelle Gapp discusses key works by the Group of Seven and counters the widely held narratives of wilderness and nation in Canada with an ecocritical view. The focus is on the north shore of Lake Superior in the landscape paintings of Lawren Harris, A.Y. Jackson, J.E.H. MacDonald, and Franklin Carmichael. From an environmental history perspective, this will lead to reflections on exploitation and conservation in the 20th century as well as colo¬nial history and the Indigenous communities that originally lived in the region.
There will be an opportunity to ask questions afterwards.
The livestream will take place here, and on YouTube and Facebook. There is no charge for this offering. IN ENGLISH
REPRESENTATION OF INDIGENOUS ART IN MUSEUMS
The Anishinaabe-kwe curator Wanda Nanibush (Art Gallery of Ontario, Toronto) addresses the representation of indigenous art in museums and cultural institutions, noting its gradual shift since the 1960s from the realm of ethnographic museums to galleries and art museums. Contemporary ways of presenting indigenous positions demonstrate how they have influenced perceptions of art and their history, and how indigenous contemporary artists are challenging the notion of the museum as an institution in general.
PAST LECTURES IN THE SERIES "THE MYTH OF THE CANVAS"
NEW PERSPECTIVES ON THE REPRESENTATION OF THE ARCTIC IN MODERN TIMES
As a prelude to THE MYTH OF THE CANVAS series, art historian Bart Pushaw (University of Copenhagen) examined the complex artistic creativity going on in the Arctic during the 1930s using the example of the Pannirtuuq (Pangnirtung) settlement. He presented works by renowned Canadian Modernists Lawren Harris and A. Y. Jackson, who either blend out or romanticize the presence of the native Inuit in their depictions. This is in stark contrast to the everyday reality of the native inhabitants, which is marked by social and ecological repression, and with the vibrant, contemporary Modernism of the Inuit artists.