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Tania Willard

Tania Willard, Secwepemc Nation, works within the shifting ideas of contemporary and traditional as it relates to cultural arts and production.Often working with bodies of knowledge and skills that are conceptually linked to her interest in intersections between Aboriginal and other cultures. Willard has worked as an artist in residence with gallery gachet in Vancouver’s Downtown East Side, the Banff Centre’s visual arts residency, fiction and Trading Post and was a curator in residence with grunt gallery. Collection’s of Willard’s work include the Department of Foreign Affairs and International Trade, Kamloops Art Gallery and Thompson Rivers University. Willard’s recent curatorial work includes Beat Nation: Art Hip Hop and Aboriginal Culture, featuring 27 contemporary Aboriginal artists currently at Vancouver Art Gallery.

Exhibitions

  • Barn Swallows

    CAROLINE MONNET, DEVIN TROY STROTHER, LAWRENCE PAUL YUXWELUPTUN
    February 8–March 29, 2014

    Artspeak - “Barn Swallows” - CAROLINE MONNET, DEVIN TROY STR

    Artspeak - “Barn Swallows” - CAROLINE MONNET, DEVIN TROY STR

    Artspeak - “Barn Swallows” - CAROLINE MONNET, DEVIN TROY STRArtspeak - “Barn Swallows” - CAROLINE MONNET, DEVIN TROY STR

    Artspeak - “Barn Swallows” - CAROLINE MONNET, DEVIN TROY STR

    Artspeak - “Barn Swallows” - CAROLINE MONNET, DEVIN TROY STR

    Artspeak - “Barn Swallows” - CAROLINE MONNET, DEVIN TROY STR

    Artspeak - “Barn Swallows” - CAROLINE MONNET, DEVIN TROY STR

    Artspeak - “Barn Swallows” - CAROLINE MONNET, DEVIN TROY STR

    Artspeak - “Barn Swallows” - CAROLINE MONNET, DEVIN TROY STR

    Artspeak - “Barn Swallows” - CAROLINE MONNET, DEVIN TROY STR

    Artspeak - “Barn Swallows” - CAROLINE MONNET, DEVIN TROY STR

    Artspeak - “Barn Swallows” - CAROLINE MONNET, DEVIN TROY STR

    Artspeak - “Barn Swallows” - CAROLINE MONNET, DEVIN TROY STR

    Artspeak - “Barn Swallows” - CAROLINE MONNET, DEVIN TROY STR

    Barn Swallows brings together three artists whose works combine the vocabulary of popular and traditional visual-cultures with the tropes of modernist abstraction to create unique hybrids forms. Each artist uses this strategy for a different purpose, as the basis for formalist exploration, to consider representation’s role in the political tensions of modernity, or to reflect on the power dynamics at play in the portrayal of race and gender in art history and popular culture.

    Lawrence Paul Yuxweluptun’s recent ovoid paintings and sculptures complement his more familiar figurative tableaux of the past thirty years. While the idealized Northwest-Coast formline shapes are freed from their traditional depictive role, the titles nonetheless root these works in the artist’s broader concern with representation, the landscape and First Nations political struggles.

    By contrast, Caroline Monnet’s Anomalia collage and silkscreen series approaches abstraction by splicing together found images of urban development, resource extraction and Hollywood depictions of First Nations culture, dissolving the originals into a fragmentary field of overlapping facets. These fields are, in turn, cropped into the shapes of silhouettes of animal and human figures—each image in the series offering a different view on the collision of nature and culture in recent history.

    Devin Troy Strother’s high-relief assemblages and paintings centre around caricatures of black figures in sometimes gory, sexualized scenes on top of abstract backgrounds, which poke fun at the pretensions of formalism. Sardonic titles like A Black Joan Jonas in “Nigga I’m a Coyote” highlight the entangled histories of primitivism and abstraction within avant-garde art, asking, in the process, who has the right to use certain kinds of language and certain kinds of history.

    Postscript 56: Denise Ryner on Barn Swallows (PDF)

Talks & Events

  • On Barn Swallows

    TANIA WILLARD
    March 1, 2014

    Artist and curator Tania Willard will deliver a talk in response to Artspeak’s current exhibition Barn Swallows.

Publications

  • – May Day – Mayday – Maydaze –

    Artist: aly de la cruz yip, Ho Tam, Tania Willard
    Category: Poster
    Publisher: Artspeak, Moniker Press
    Printer: Erica Wilk, Moniker Press
    Year published: 2021
    Edition: 100
    Process: Risograph printed on 65# Natural Cover with medium blue, kelly green, yellow, bright red, green, purple, fluoro orange and pink rice bran inks
    Dimensions: 279 x 431 mm
    Weight: 4.5g each
    Cost: $15 each; $40 for set of three
    Proceeds to support DTES Response Fund

    SINGLE Poster

    Mail Order (Shipping Included)
    Poster


    SET of 3 Posters

    Mail Order (Shipping Included)


    Ho Tam

    ‘The Greatest Stories Ever Told’ is a collection of stories written in the style of poetry, a fable, or a nursery rhyme. The stories range from melodrama to political satire, and are inspired by collages made up of images found on  international banknotes. This print designed for Spring Print is a selection of the images from these stories.

    The images found on banknotes often depict important historical figures, symbols, landscape, architecture, fauna and flora as relating to the pride and legacy of the respective countries. By extracting these images I am interested in disrupting their original context. Placing them in the same space side by side, allows us to remove the material boundaries of the banknotes, and to examine the wider power structures around us, and to reconsider and question the ideological narratives of the Nation States. 

    HOTAM PRESS is a vanity press established by the artist Ho Tam. His self-important projects include three book series: THE GREATEST STORIES EVER TOLD, POSER and HOTAM. Recently, Hotam Press has ambitiously opened its physical bookshop/gallery space in Vancouver, Canada where print-based and original artwork by artists are exhibited regularly. Other collaborative projects by Hotam Press with other artists include XXXZINES and 88BOOKS.

     

    aly dela cruz yip 

    a moiré pattern to make bad energy and spirits dizzy, 

    maybe not the time

    when hybridity doesn’t feel harmonious 

    it’s time to go

    image description: unlit abstracted joss papers (no gold) cascade and circle through the air, five cartoonish bats soar towards an unknown common centre, a few from behind and in-between ginkgo leaves in the two bottom corners. there are a few chrysanthemum buds floating amongst the leaves, all before a backdrop of a chaotic grid referencing ilokano inabel.

     

    Tania Willard 

    ‘Memorandum of understanding’ extends some of the thinking around land and value from a previous series of work, Snowbanks and other Investments (2020). This work considers bureaucratic processes and language in generative ways that pair legalese with representations of land, to assert land rights in a process of decolonial aesthetics.