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Undid revision 1185874350 by 174.34.184.130 (talk) Wanda Nanibush is alive. Present tense not past tense
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Nanibush began work at the Art Gallery of Ontario in 2016 as an assistant curator of Canadian and Indigenous Art in the department of Canadian art. Her first curatorial project at the AGO was ''Toronto: Tributes + Tributaries, 1971–1989,'' for which she included Anishinaabemowin land acknowledgment text alongside English and French as a way of marking Toronto as traditional Indigenous territory.<ref name="Skwarna">{{cite journal |last1=Skwarna |first1=Naomi |title=Who Gets Called an Artist? |journal=University of Toronto Magazine |date=2017 |issue=Winter |url=http://magazine.utoronto.ca/all-about-alumni/who-gets-called-an-artist-wanda-nanibush-indigenous-art-ago-naomi-skwarna/ |access-date=21 August 2018}}</ref> The exhibition was a collections exhibition that turned over after four months including over 120 artists. It had a film festival and performance art series as part of the programming. <ref>{{Cite web |title=Toronto: Tributes + Tributaries, 1971-1989 |url=https://ago.ca/exhibitions/toronto-tributes-tributaries-1971-1989 |access-date=2023-10-29 |website=Art Gallery of Ontario |language=en}}</ref>
Nanibush began work at the Art Gallery of Ontario in 2016 as an assistant curator of Canadian and Indigenous Art in the department of Canadian art. Her first curatorial project at the AGO was ''Toronto: Tributes + Tributaries, 1971–1989,'' for which she included Anishinaabemowin land acknowledgment text alongside English and French as a way of marking Toronto as traditional Indigenous territory.<ref name="Skwarna">{{cite journal |last1=Skwarna |first1=Naomi |title=Who Gets Called an Artist? |journal=University of Toronto Magazine |date=2017 |issue=Winter |url=http://magazine.utoronto.ca/all-about-alumni/who-gets-called-an-artist-wanda-nanibush-indigenous-art-ago-naomi-skwarna/ |access-date=21 August 2018}}</ref> The exhibition was a collections exhibition that turned over after four months including over 120 artists. It had a film festival and performance art series as part of the programming. <ref>{{Cite web |title=Toronto: Tributes + Tributaries, 1971-1989 |url=https://ago.ca/exhibitions/toronto-tributes-tributaries-1971-1989 |access-date=2023-10-29 |website=Art Gallery of Ontario |language=en}}</ref>


In 2017, Nanibush and Georgiana Uhlyarik renamed the department of Canadian Art, the department of Indigenous and Canadian Art, and developed a new nation to nation model of sharing power.<ref name="Doherty">{{cite news |last1=Doherty |first1=Brennan |title=AGO adds curators, renames Canadian art department to explicitly include Indigenous works |url=https://www.thestar.com/news/gta/2017/10/03/ago-opening-department-for-canadian-and-indigenous-art-names-two-curators.html |access-date=21 August 2018 |work=Toronto Star |date=3 October 2017 |language=en}}</ref> As part of the role, Nanibush created a new Indigenous Curator position and co heads the department with [[Georgiana Uhlyarik]], the curator of Canadian Art. Together they have made a series of changes to the exhibition of Indigenous and Canadian art centuring Indigenous art in the renamed McLean Centre for Indigenous and Canadian Art. The centre has texts in Anishinabemowin, Inuktitute and other First Nations languages alongside English and French.<ref name="Loos" /><ref>{{Cite web |title=Moving the Museum |url=https://gooselane.com/products/moving-the-museum |access-date=2023-10-29 |website=Goose Lane Editions}}</ref>
In 2017, Nanibush and Georgiana Uhlyarik renamed the department of Canadian Art, the department of Indigenous and Canadian Art, and developed a new nation to nation model of sharing power.<ref name="Doherty">{{cite news |last1=Doherty |first1=Brennan |title=AGO adds curators, renames Canadian art department to explicitly include Indigenous works |url=https://www.thestar.com/news/gta/2017/10/03/ago-opening-department-for-canadian-and-indigenous-art-names-two-curators.html |access-date=21 August 2018 |work=Toronto Star |date=3 October 2017 |language=en}}</ref> As part of the role, Nanibush created a new Indigenous Curator position and co heads the department with [[Georgiana Uhlyarik]], the curator of Canadian Art. Together they have made a series of changes to the exhibition of Indigenous and Canadian art, including [[The Indian Church (painting)#2018 change of name|renaming the 1929 Emily Carr painting]] from ''[[The Indian Church (painting)|The Indian Church]]'' to ''Church in Yuquot Village'', 73 years after Carr's death, and centering Indigenous art in the renamed McLean Centre for Indigenous and Canadian Art. The centre has texts in Anishinabemowin, Inuktitute and other First Nations languages alongside English and French.<ref name="Loos" /><ref>{{Cite web |title=Moving the Museum |url=https://gooselane.com/products/moving-the-museum |access-date=2023-10-29 |website=Goose Lane Editions}}</ref>


Since becoming the curator of Indigenous Art, Nanibush's influence has led to Indigenous artists representing nearly one third of those featured at the AGO. In a 2018 profile about the changes underway at the Gallery and other institutions featuring Indigenous art, the ''New York Times'' noted Nanibush as "one of the most powerful voices for Indigenous culture in the North American art world."<ref name="Loos">{{cite news |last1=Loos |first1=Ted |title=A Canadian Museum Promotes Indigenous Art. But Don't Call It 'Indian.' |url=https://www.nytimes.com/2018/07/13/arts/design/art-gallery-of-ontario-indigenous-art.html |access-date=21 August 2018 |date=13 July 2018 |language=en}}</ref>
Since becoming the curator of Indigenous Art, Nanibush's influence has led to Indigenous artists representing nearly one third of those featured at the AGO. In a 2018 profile about the changes underway at the Gallery and other institutions featuring Indigenous art, the ''New York Times'' noted Nanibush as "one of the most powerful voices for Indigenous culture in the North American art world."<ref name="Loos">{{cite news |last1=Loos |first1=Ted |title=A Canadian Museum Promotes Indigenous Art. But Don't Call It 'Indian.' |url=https://www.nytimes.com/2018/07/13/arts/design/art-gallery-of-ontario-indigenous-art.html |access-date=21 August 2018 |date=13 July 2018 |language=en}}</ref>

Revision as of 15:06, 19 November 2023

Wanda Nanibush
Born1976 (age 47–48)
NationalityBeausoleil First Nation, Canadian
EducationUniversity of Toronto
Known forIndigenous curation
Websiteago.ca/people/wanda-nanibush

Wanda Nanibush (born 1976) is an Anishinaabe curator, artist and educator based in Toronto, Ontario. She is the curator of Indigenous Art at the Art Gallery of Ontario

Nanibush won the 2023 Toronto Book Award for the book Moving the Museum, written in collaboration with her fellow Art Gallery of Ontario curator Georgiana Uhlyarik.[1]

Career

Nanibush is a member of the Beausoleil First Nation.[2] She obtained an MA in visual studies from the University of Toronto.[2][3] She has also served as Curator in Residence at the Justina M. Barnicke Gallery.[4]

Nanibush has a long-standing relationship with Anishinaabe multimedia artist Rebecca Belmore and has curated a series of shows featuring her work including KWE: Photography, Sculpture, Video and Performance by Rebecca Belmore (2014) at the Justina M. Barnicke Gallery, and Rebecca Belmore: Facing the Monumental (2018) a survey of Belmore's 30 year career at the Art Gallery of Ontario.[5][6]

Nanibush has been an active community organizer participating in demonstrations against the Iraq War and uranium processing, and raising awareness about the relationship between racism and lack of education. She has also worked as an organizer for Idle No More Toronto talks and teach-ins to help with education efforts.[7]

Art Gallery of Ontario

Nanibush began work at the Art Gallery of Ontario in 2016 as an assistant curator of Canadian and Indigenous Art in the department of Canadian art. Her first curatorial project at the AGO was Toronto: Tributes + Tributaries, 1971–1989, for which she included Anishinaabemowin land acknowledgment text alongside English and French as a way of marking Toronto as traditional Indigenous territory.[8] The exhibition was a collections exhibition that turned over after four months including over 120 artists. It had a film festival and performance art series as part of the programming. [9]

In 2017, Nanibush and Georgiana Uhlyarik renamed the department of Canadian Art, the department of Indigenous and Canadian Art, and developed a new nation to nation model of sharing power.[10] As part of the role, Nanibush created a new Indigenous Curator position and co heads the department with Georgiana Uhlyarik, the curator of Canadian Art. Together they have made a series of changes to the exhibition of Indigenous and Canadian art, including renaming the 1929 Emily Carr painting from The Indian Church to Church in Yuquot Village, 73 years after Carr's death, and centering Indigenous art in the renamed McLean Centre for Indigenous and Canadian Art. The centre has texts in Anishinabemowin, Inuktitute and other First Nations languages alongside English and French.[11][12]

Since becoming the curator of Indigenous Art, Nanibush's influence has led to Indigenous artists representing nearly one third of those featured at the AGO. In a 2018 profile about the changes underway at the Gallery and other institutions featuring Indigenous art, the New York Times noted Nanibush as "one of the most powerful voices for Indigenous culture in the North American art world."[11]

Curated exhibitions

  • Rebecca Belmore: Facing the Monumental, organized and circulated by the Art Gallery of Ontario (2018), toured to the Remai Modern (2019) and the Musée d'art contemporain de Montréal (2019)
  • Sovereign Acts II, Leonard & Bina Ellen Art Gallery at Concordia University (2017), toured to the University of Waterloo Art Gallery (2018)
  • The Fifth World, Mendel Art Gallery (2015) and toured to the Kitchener-Waterloo Art Gallery (2016)
  • KWE: Photography, Sculpture, Video and Performance by Rebecca Belmore, Justina M. Barnicke Gallery (2014)

Publications

  • Violence No More: The Rise of Indigenous Women. Arbeiter Ring Publishing. 2017. ISBN 9781894037853.
  • Moving the Museum, 2023[1]

Awards and honours

  • 2023: Toronto Book Award for Moving the Museum[1]

References

  1. ^ a b c Cassandra Drudi, "Wanda Nanibush and Georgiana Uhlyarik win 2023 Toronto Book Award". Quill & Quire, October 11, 2023.
  2. ^ a b Whyte, Murray (22 July 2016). "Wanda Nanibush named AGO's first curator of indigenous art". Toronto Star. Retrieved 21 August 2018.
  3. ^ McRae, Aiden (26 July 2016). "The AGO's 1st curator of Canadian and Indigenous art hopes to inspire renewed relationships". CBC. Retrieved 21 August 2018.
  4. ^ "Wanda Nanibush". Ontario Association of Art Galleries. 30 October 2014. Retrieved 21 August 2018.
  5. ^ Simpson, Leanne Betasamosake (11 July 2018). "I Am the Artist Amongst My People". Canadian Art. Retrieved 21 August 2018.
  6. ^ Carter, Sue (13 August 2018). "AGO curator Wanda Nanibush on editing the art book, Rebecca Belmore: Facing the Monumental". Quill and Quire. Retrieved 21 August 2018.
  7. ^ Donkin, Karissa (12 January 2013). "Idle No More activist inspired by late mother". Toronto Star. Retrieved 21 August 2018.
  8. ^ Skwarna, Naomi (2017). "Who Gets Called an Artist?". University of Toronto Magazine (Winter). Retrieved 21 August 2018.
  9. ^ "Toronto: Tributes + Tributaries, 1971-1989". Art Gallery of Ontario. Retrieved 2023-10-29.
  10. ^ Doherty, Brennan (3 October 2017). "AGO adds curators, renames Canadian art department to explicitly include Indigenous works". Toronto Star. Retrieved 21 August 2018.
  11. ^ a b Loos, Ted (13 July 2018). "A Canadian Museum Promotes Indigenous Art. But Don't Call It 'Indian.'". Retrieved 21 August 2018.
  12. ^ "Moving the Museum". Goose Lane Editions. Retrieved 2023-10-29.
source: https://en.wikipedia.org/wiki/Special%3ADiff%2F1185877947

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