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Government and STF reach tentative agreement

A tentative agreement has been reached between the Government-Trustee Bargaining Committee and the Saskatchewan Teachers’ Federation Bargaining Committee. The agreement was reached today following a recent round of negotiations. The recent negotiations came after the teachers rejected the Government-Trustee Bargaining Committee’s offer that was brought to the STF membership earlier this month. The STF announced on Thursday that 83 per cent of teachers voted 95 per cent in favour of further job action if an agreement could not be struck. “I want to thank parents, teachers, and students for their patience during this process,” Education Minister Jeremy Cockrill said in a press release. “I am hopeful that the tentative agreement will be finalized so that predictability is provided to families and teachers.” Details of the agreement will be released as ratification draws closer.

Forge Project Awards $150,000 to Native American Artists

By in Native

Forge Project Awards $150,000 to Native American Artists
Details
By Native News Online Staff

May 16, 2024

Native-led arts and culture non-profit Forge Project announced this week the recipients of the 2024 Forge Fellowship. 

“We are thrilled to host this year’s cohort of Forge Project Fellows,” Forge Project Director of Indigenous Programs & Relationality Sarah Biscarra Dilley (yaktitʸutitʸu yaktiłhini), said in a press release. “We look forward to supporting their time in residence, whether it be anchored in uninterrupted time to work, engaging others through a public or invitation-only program, or the spaciousness to rest.”

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Each Forge Project Fellow will receive a $25,000 grant to support their artistic endeavors. During their three-week residencies on-site, they will also enjoy full access to the Forge Project’s facilities, libraries, and contemporary Indigenous art collection. 

Fellows will also have opportunities to showcase their work through events and online platforms.

The selection process for the 2024 Forge Fellowship involved a panel of esteemed Native artists, scholars, educators, and former fellows. This year’s selection process also involved a panel specifically for fellows from the Stockbridge-Munsee Community.

Established in 2021, the Forge Fellowship has recognized Native leaders across various fields annually. Previous fellows include Sky Hopinka (Ho-Chunk Nation/Pechanga Band of Luiseño Indians), Jasmine Neosh (Menominee), Laura Ortman (White Mountain Apache), Rainer Posselt (Stockbridge Munsee Band of Mohicans), and Tania Willard (Secwepemc Nation).

Meet the 2024 Forge below.

Delbert Anderson (Navajo/Diné)
Delbert Anderson, a Diné jazz trumpeter, composer, and educator, blends Navajo “spinning songs” with jazz and funk, creating a unique sound in Native American jazz. Leading the Delbert Anderson Quartet, he infuses Diné culture into his music, with notable projects like “The Long Walk: 1,674 Days” and an upcoming tribute to Indigenous Jazz legends Don Cherry and Jim Pepper. Anderson also runs the “Build A Band” program, teaching jazz improvisation to youth with a focus on Diné values. Recognized by Chamber Music America and the First Peoples Fund, his work has been featured in the New York Times and NPR. Photo credit: Maurice Johnson.

Schon Matthew Duncan (United Keetoowah Band of the Cherokee Indians)
Schon Duncan, is a filmmaker, writer, actor, and language activist deeply engaged in community, arts, and education. After youth work in Tulsa, Duncan immersed themselves in Cherokee language revitalization through the Cherokee Language Master-Apprentice Program in northeastern Oklahoma. Now at Dahlonegah Public School, they promote Cherokee language and lifeways to students of all ages. Duncan’s recent achievements include directing the documentary ᏓᏗᏬᏂᏏ (We Will Speak) and voicing ᎢᎾᎨᎢ (In The Woods). Dedicated to fostering Cherokee youth culture through film and art, their work exemplifies a steadfast commitment to language revitalization and mentorship.

Donna Hogerhuis (Stockbridge-Munsee)
Donna Hogerhuis, is an emerging basket maker specializing in Mohican technique and design. With a master’s in museum studies from the University of Washington and prior fellowship with the Smithsonian Native American Program, Donna now serves as the Manager of the Preservation Program’s Library, Archives, and Repository for a Northwest Tribe. For over 25 years, she has supported Tribal members, artists, scholars, and government entities in researching, publishing, and exhibiting Washington’s Tribal culture and history. Drawing from her own Tribe’s history, Donna emphasizes the significance of studying ancestral designs and artifacts. Descended from generations of basket makers, she is currently researching Mohican basket makers and northeast designs to honor their legacy.

Lindsay McIntyre (Inuit)
Lindsay McIntyre, an acclaimed filmmaker and artist of Inuit and mixed settler heritage, specializes in 16mm film, exploring themes of portraiture, place, and personal histories through an analog process. Notably, she crafts her own emulsion with caribou gelatin. With a portfolio comprising over 40 short experimental and documentary films and expanded cinema performances, she is currently developing her debut feature, “The Words We Can’t Speak,” which earned her the Women in the Director’s Chair Feature Film Award and a 2024 Sundance Native Lab Fellowship. Her short film “NIGIQTUQ ᓂᒋᖅᑐᖅ” (2023) received the Best Short Live Action award at imagineNATIVE, along with other prestigious honors. McIntyre is a COUSIN Fellow, a member of the IRIS Film Collective, and has been recognized with the REVEAL Indigenous Art Award and the Victor Martyn Lynch-Staunton Award for Excellence in Media Arts by the Canada Council. Additionally, she shares her expertise by teaching Film + Screen Arts at Emily Carr University of Art + Design on unceded Coast Salish Territory.

Mikayla Patton (Oglala Sioux Lakota)
Mikayla Patton, an interdisciplinary visual artist based in Pennsylvania, pioneers a unique approach melding recycled paper-making with earth elements to craft sculptural objects. Her creations delve into Indigenous intimacies, materiality, and sustainability, viewed through a Lakota lens. Incorporating glass beads, porcupine quills, leather, and plants, she explores themes of healing, growth, and renewal. Holding a BFA from the Institute of American Indian Arts in Santa Fe, New Mexico, her work has graced prestigious venues such as the Texas Tech School of Art in Lubbock, All My Relations Gallery in Minneapolis, and the Contemporary Arts Center in New Orleans. Recognized in publications like Hand Papermaking magazine, First American Art, and Pasatiempo, Patton has garnered numerous fellowships, awards, and residencies, including the Ucross Foundation, First Peoples Fund, Native Arts and Culture Foundation, and the 2023 Joan Mitchell Fellowship.

Sterling Anthony Schreiber II (Stockbridge-Munsee)
Sterling Schreiber II, an enrolled member of the Stockbridge-Munsee Band of Mohican Indians, resides with his family on the Stockbridge-Munsee Indian Reservation in Wisconsin. They operate a 25-acre produce farm and apiary, focusing on cultivating cleaner and healthier foods for local tribal communities. Through collaborations with Feeding America Eastern Wisconsin, the Great Lakes Intertribal Food Coalition, and the Tribal Elder Food Box Program, their produce and honey reach over 2,000 Elders within tribal communities across Wisconsin. Together with his brother Brock, Sterling initiated a program to provide tribal Elders with access to venison, a vital traditional food source. They aim to expand the initiative to educate the community’s youth about the outdoors while continuing to support Elders with traditional foods. Sterling advocates for tribal food sovereignty and security, actively engaging in his tribal community.

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Charles Gaines, By the Numbers

By in Sculpture

Charles Gaines, By the Numbers
The artist on his new work at the Freedom Monument Sculpture Park in Alabama, the development of his practice and taking drum lessons from Jimmie Smith.

Sculpture artist Tom Hoitsma reveals a new floral sculpture and painting series

By in Sculpture

Sculpture artist Tom Hoitsma reveals a new floral sculpture and painting series
Photography courtesy of Tom Hoitsma.

Abstract artist Tom Hoitsma, known for his large-format gestural abstract paintings, introduces “Flowers,” expanding his “Heart of the Matter” metal sculpture series and his new painting series, “Woven.”

Hoitsma’s inspiration behind his original “Heart of the Matter” metal sculpture series came

Weathered Wood and Marble Visualize Time Passing in Stefaan De Croock’s Poetic Portraits

By in Art World News

Weathered Wood and Marble Visualize Time Passing in Stefaan De Croock’s Poetic Portraits

“PORTRAIT D I 24” (2024), recycled wood sculpture, 55.12 x 36.61 inches. All images courtesy of Nosbaum Reding, shared with permission

Lush with material textures, Stefaan De Croock’s portraits have no identifying attributes. The Belgian artist (previously) puzzles together fragments of wood or marble into figures with distinctive postures and presences but no facial features. Anonymity can lend itself to universality, De Croock believes, and he strives to pinpoint the experiences and stories that touch many lives.

Using reclaimed materials, the artist finds that dings, scratches, and evidence of wear add to the histories of each piece, while speaking to a sense of timelessness that runs through his work. “The materials hold something magical. They possess a certain spontaneity, impossible to recreate. They show an amazing imprint of everything that ever happened to them. You can ‘see’ time,” he said in a statement.

If you’re in Brussels, you can see a collection of his portraits on view through July 13 at Nosbaum Reding Gallery for In Limbo. Otherwise, explore more of the artist’s work on Instagram.

 

a portrait of a faceless figures made of collaged wood

“PORTRAIT R IV 24” (2024), recycled wood sculpture, 33.46 x 21.26 inches

a portrait of a faceless figure made of collaged wood

“PORTRAIT F VII 24” (2024), Taj Mahal marble, 20.87 x 36.61 inches

two portrait of faceless figures made of collaged wood

Left: “PORTRAIT R II 24” (2024), recycled wood sculpture, 70 x 40 centimeters. Right: “PORTRAIT L I 24” (2024), recycled wood sculpture, 90 x 53 centimeters

a portrait of a faceless figure made of black marble

“PORTRAIT R IV 23” (2023), Patricia Verde marble and wood frame, 72.44 x 55.71 inches

a portrait of a faceless figures made of collaged wood

“PORTRAIT R V 24” (2024), recycled wood sculpture, 39.37 x 21.26 inches

a portrait of three faceless figures made of marble

“PORTRAIT G I 23” (2023), Carrara marble and wood frame, 100 x 64.57 inches

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Weathered Wood and Marble Visualize Time Passing in Stefaan De Croock’s Poetic Portraits appeared first on Colossal.

‘Realities of apartheid’: South African artist wins Deutsche Börse photography prize

By in Photography

‘Realities of apartheid’: South African artist wins Deutsche Börse photography prize

The South African artist Lebohang Kganye has won the prestigious Deutsche Börse Photography Foundation prize for her work that uses large-scale cutouts and elements of set design to trace and depict her family history during the apartheid era.

The Johannesburg-based artist took home the £30,000 prize for her winning exhibition, which is on display at the Photographers’ Gallery in central London and is called Haufi nyana? I’ve come to take you home.

In it Kganye – who was born in 1990, in the dying days of apartheid, uses cutout figures and objects that depict scenes from stories she was told by her family. The artist sometimes appears in the scenes, acting them out dressed as her relatives.

Combining oral history, family photo albums and theatrical stages, the result is work that the judges said “reflects on the realities and consequences of apartheid and colonialism”.

Anne-Marie Beckmann, the director of the Deutsche Börse Photography Foundation, said: “It was a strong shortlist full of powerful images and long-term projects but we thought that Lebohang’s work experimented with the medium by combining photography and archival material from her family in a new and fresh way.”

Claire Grafik, the chair of the judging panel and acting director of the Photographers’ Gallery, said: “Her work implicated the audience through the installation and the use of these freestanding collages where audiences become part of the experience. There’s no distance between the work and the audience – her use of theatre to bring the audience into conversation with the artwork was something that we really loved.”

The themes of family and story have been central to Kganye’s work since she emerged in the early 2010s. A breakout early work was Her-Story, in 2013, where she recreated images of her late mother, dressing up as her and overlaying images of herself depicting the same scene.

Kganye briefly worked in TV production and her cutout work was inspired by set designers, while she also used elements of theatre, literature and sculpture.

Haufi nyana?, which means “too close” in the Sesotho language, recalls stories about her family’s migration, caused by land acts and apartheid law, while she also explores the alternation of her family’s surname, which means “light” in Sesotho.

This year’s other nominated artists, who will each receive £5,000, all created work that touched on the themes of trauma or displacement.

Valie Export, the Austrian artist whose work has long focused on the female body, was also nominated alongside the Indian artists Gauri Gill and Rajesh Vangad – shortlisted for their book Fields of Sight, which combined photography and intricate Warli painting.

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Hrair Sarkissian, the grandson of Armenia genocide refugees, who was born and raised in Damascus, was shortlisted for his work about loss, trauma and untold stories rediscovered after conflict.

Sarkissian, who has previously created work about the mass killings in Spain during the Franco era, was nominated for Last Seen, an exhibition that focuses on “disappeared” people who went missing during conflicts and is a series of images taken in their last known location.

Beckmann said the 2024 shortlisted work all played with questions of “displacement”, “heritage” and “giving voices to unheard communities”.

“If you look at Sarkissian’s work, he’s been going to different countries whether in Kosovo or Argentina or other regions. It’s putting a light on work that is perhaps hidden. The same goes for Gauri Gill and Rajesh Vangad’s work and Valie Export, who was creating very provocative work about feminism in the 1970s – which is definitely still needed.”

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