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Jessie Oonark, Untitled, around 1970, wool felt and cotton thread. Gift of Guardian Capital Group Limited, 2020. Photo: Bernard Clark. Public Trustee for Nunavut, Estate of Jessie Oonark
EXHIBITIONS
Emergence: A Recent Gift of Indigenous Art
1 July–12 November 2023
ON-SITE: Samuel J. Zacks, Historical Feature, R. Fraser Elliott and Bader Galleries

Exhibition Celebration
14 July 2023
Members’ Preview, 5–6 pm
Public Reception, 6–8 pm

Featured Artists:
Debaajmogaazjig Mesninbii’igejig:
Ne kí:ken ne Ratiráhstha:
ᓴᖅᑭᔮᖅᑎᑕᐅᔪᑦ ᓴᓇᙳᐊᖅᑏᑦ:

Pauloosie Akitirq, Malaya Akulukjuk, Elizabeth Angrnaqquaq, Kenojuak Ashevak, Irene Avaalaaqiaq, Benjamin Chee Chee, Sarah Elijassiapik, Robert Houle, Elisapee Ishulutaq, Alex Janvier, Eugenie Tautoonie Kabluitok, Helen Kalvak, R. Gary Miller, Norval Morrisseau, Agnes Nanogak, Peter Nauja, Celina Tuajuk Ningark, William Noah, Jessie Oonark, Parr, Peter Pitseolak, Lypa Pitsiulak, Kananginak Pootoogook, Lukta Qiatsuk, Abraham Anghik Ruben, Joe Talirunili and Judas Ullulaq

Emergence
A Recent Gift of Indigenous Art

Mookisewin
Anishinaabe Mzinbii’ige Oshki-Miingwewziwin

Ontotáhsi
Nahé:’a Wahonwén:non Onkwehón:we Rotiráhston

ᓴᖅᑭᐸᓪᓕᐊᔪᑦ
ᑐᓂᔭᐅᕋᑖᕐᓂᖏᑦ ᓄᓇᖃᖅᑳᖅᓯᒪᔪᓄᑦ ᓴᓇᐅᒐᕐᓂᑦ

Emergence highlights important early and mid-career works of art by contemporary Indigenous artists from across Turtle Island, North and South. As a collection, these works provide a cohesive vision of the approaches and concerns of artists working in the 1970s. Both emerging and elder artists experimented with various media, in drawings, paintings, prints, sculpture, and textiles. In that formative decade, chosen materials and techniques resulted in art forms championed through established community centres, craft guilds, and art galleries. These artists shaped new artistic markets and became influential advocates and innovators in the field of contemporary and Indigenous art, forging paths for future generations of artists.

Mookisewin mooknaanaa’aa gechi-inendaagwak wiiba miinwaa naanaawi’ying mzinbii’igewinan gaa-zhitoojig mzinbii’igeiniwag enjibaajig Makina Minising – Giiwednong miinwaanZhaawanong. Nonda e-maawndwisinggin, nonda mzinbii’igewinan miigwenaa’aa e-dgowaamjigaadeg ezhchigewaad miinwaa e-bibaamizikaandimowaad gonda mzinibii’igeniniwag gaa-nokiijig 1970. Neniish go yeshki-maajtaajig miinwaa negjitojig meznibii’igejig gii-wiikjitoonaa’aa nonj gegoo, mzinbii’igewaad, shoobii’igewaad, mzinkojigewaad miinwaa mzinkiignigewaad. Wi dash pii gwej yeshki-maajtaawaad, e-wenaamjigaadegin nakaazwinan miinwaa waa-zhi-zhichgewaad gii-bi-temgad mzinbii’igewinan gii-zhinoomaageng oodenaawigamgong, anokaajiganing, miinwaa go mzinbii’ige zhinoomaagegamigong. Gonda dash meznibii’igejig gii-ni-niigaaniikaadaanaawaa ishki-mzinbii’ige ednadaayeng miinwaa gii-ni-aasgaabwitaadaanaawaa miinwaa yeshki-zhichigejig gii-ni-aawiwag zhiwe sa nonj gegoo nikeying miinwaa Anishinaabe mzinibii’igewin, ni niigaani-makwetamowaawaad e ni-shki-mzinbii’igenjin.

Ióhskats ne Ontotáhsi (Emergence) ne iorihowá:nen iohstó:re tánon ne ahsén:non shihón:ne tsi rotiio’tátie tsi ratiráhstha ne ónwa nikahá:wi’s ronnokwehón:we ratiráhstha tóka ni’ ohsnónhsa rontstha thénon ahonnón:ni ne tsi Kawé:note ne A’nowará:ke, Othorè:ke tánon ne Éntie Nonkwá:ti. Tsi karó:ron, ki kaio’ténhsera ensahró:ri tsi tewatenróhon tsi ní:ioht tsi rontkathóskwe tsi nenhatí:iere tánon nahò:ten tehon’nikonhrharhákwe ne 1970 ki ratiráhstha rotiio’téhkwe. Tetsá:ron ne ónwa’k tahonatahsawatié:nen tánon ne thotí:ions ratiráhstha wahonte’nientén:nion nia’té:kon tsi ní:ioht tsi taonterihó:ko, wahatiráhstanion, wahatikontsheráhrho, wa’thatihna’netáhko, wahonhkaratáhko tánon ne onia’taraahshón:’a. Ne e’tho shontakahá:wi, enhatirá:ko nahò:ten énhontste tánon tsi nenhatí:iere karáhston tsi ia’tenwatkahrhaté:ni ronwatiienawá:se ne ne ronterihwatsterístha, nia’té:kon ronnón:ni raotitióhkwa, tánon ne kakontsherahrhon tsi karáhston shakotina’tón:ni. Kí ratiráhstha tho nontá:wehte ontehnhotonkwenhá:ton tsi nón:we niahatí:hawe, wahatihsennowáhnha tsi rontá:tis ne raotirihwá:ke tánon thatiióntha ne orí:wase ne ónwa nikahá:wis tsi nihatiiérha ne Onkwehón:we, ronwatihahonnién:ni ne tahonenonhá:tie ratiráhstha.

ᓴᖅᑭᐸᓪᓕᔪᑦ ᐊᓚᒡᒐᐃᒋᐊᖅᑎᑦᓯᔪᑦ ᐱᒻᒪᕆᐅᔪᓂ ᐱᒋᐊᓕᕋᑖᕐᓂᖏᓐᓂ ᓴᓇᖃᑦᑕᓕᓂᕈᖅᐸᓪᓕᐊᑎᓪᓗᒋᓪᓗ ᓄᓇᖃᖅᑳᖅᓯᒪᔪᐃᑦ ᓴᓇᙳᐊᖅᑏᑦ ᒥᐊᓕᒐᐃᑦ ᐅᐊᓐᓇᖓᓂ ᓂᒋᐊᓂᓪᓗ. ᑲᑎᖅᓱᖅᑕᐅᓯᒪᓪᓗᑎᑦ, ᑖᒃᑯᐊ ᓴᓇᔭᐅᓯᒪᔪᑦ ᑕᑯᒍᓐᓇᑎᑦᓯᔪᑦ ᐊᑐᖅᑕᐅᕙᓪᓕᐊᖃᑦᑕᓚᐅᖅᑐᓂᓪᓗ ᐃᓱᒫᓘᑎᒋᔭᐅᔪᓂᓪᓗ ᓴᓇᙳᐊᖅᑎᓄᑦ ᓴᓇᖃᑦᑕᓚᐅᖅᓯᒪᔪᓂ 1970ᖏᓐᓂ. ᑕᒪᖏᑦ ᓴᖅᑭᐸᓪᓕᐊᔪᑦ ᐊᒻᒪᓗ ᐃᓐᓇᑐᖃᐃᑦ ᓴᓇᙳᐊᖅᑏᑦ ᐆᑦᑐᕋᐅᑎᖃᖃᑦᑕᓚᐅᖅᓯᒪᔪᑦ ᐊᔾᔨᒌᙱᑦᑑᑎᓂᑦ, ᑎᑎᕋᐅᔭᕐᓂᒃᑯᑦ, ᐊᒥᐊᕆᓂᒃᑯᑦ, ᑎᑎᖅᑐᒐᕐᓂᒃᑯᑦ, ᓴᓇᙳᐊᕐᓂᒃᑯᑦ ᓯᑎᔪᓂᑦ ᐊᒻᒪᓗ ᖃᓪᓗᓈᖅᑕᓕᕆᖃᑦᑕᓂᒃᑯᑦ. ᑕᐃᑦᓱᒪᓂ ᓴᓇᙳᐊᖅᑎᕈᖅᐸᓪᓕᐊᓂᖏᓐᓂ, ᓴᓇᙳᐊᕈᑕᐅᒍᒪᓯᒪᔪᑦ ᐱᓕᕆᔾᔪᓰᓪᓗ ᓴᖅᑮᒍᑕᐅᖃᑦᑕᓚᐅᖅᑐᑦ ᓴᓇᙳᐊᖅᑎᒻᒪᕆᕈᖅᐸᓪᓕᐊᔪᓄᑦ ᐊᑐᖅᑕᐅᓪᓗᑎᑦ ᓄᓇᓕᓐᓂ ᑲᑎᑦᑕᕐᕖᑦ, ᓴᓇᙳᐊᕐᕖᑦ ᐊᒻᒪᓗ ᑕᑯᔭᒐᖃᕐᕖᑦ. ᑕᒪᒃᑯᐊ ᓴᓇᙳᐊᖅᑏᑦ ᓄᑖᕐᓂᑦ ᓂᐅᕐᕈᑎᖃᕐᕕᐅᒍᓐᓇᖅᑐᓂᑦ ᐱᕙᓪᓕᐊᑎᑦᓯᓚᐅᖅᑐᑦ ᓂᐱᒋᔭᐅᓕᖅᑐᑎᓪᓗ ᐊᒻᒪᓗ ᐊᑐᖅᑕᐅᓕᒪᙱᑦᑐᓂᑦ ᐊᑐᕆᐊᖃᑦᑕᓕᖅᑐᑎᑦ ᓄᓇᖃᖅᑳᖅᓯᒪᔪᓄᑦ ᓴᓇᙳᐊᖅᑐᓕᕆᓂᕐᒥ, ᐊᖅᑯᓯᐅᖅᑐᑎᑦ ᑭᖑᕚᕆᓂᐊᖅᑕᒥᓐᓄᑦ ᓴᓇᙳᐊᖅᑎᓄᑦ.

Malaya Akulukjuk (attributed to), Untitled (Bird), around 1978, wool. Gift of Hunter and Valerie Thompson, 2020. Photo: Bernard Clark

Malaya Akulukjuk (attributed to), Untitled (Bird), around 1978, wool. Gift of Hunter and Valerie Thompson, 2020. Photo: Bernard Clark

Malaya Akulukjuk, Untitled (Bird), around 1978, wool. Gift of Guardian Capital Group Limited, 2020. Photo by Bernard Clark

Malaya Akulukjuk, Untitled (Bird), around 1978, wool. Gift of Guardian Capital Group Limited, 2020. Photo by Bernard Clark

Emergence is drawn from a recent gift of Indigenous art by Guardian Capital Group Limited and by Hunter and Valerie Thompson in 2020. Collections are informed by collectors, but also speak volumes about artists by showing the ways in which their work was acquired. In his years at Guardian, art philanthropist Hunter Thompson purchased art made in the contemporary moment. They are now on public view for the first time in decades.

Mookisewin gii- nji-debnigaade naanomye miingwewziwin Anishinaabe mzinbii’igewin gaa-yaamjig Guardian Capital Group ezhnikaadeg miinwaa go Hunter and Valerie Thompson pii 2020. E-maawnjichigejig waawiindaanaawaa ne’en maawnjichiganan, aapji dash ge gwa gchi-maamiikwaanaa’aan meznibiigenjinzhinoomaagewaad gaa-zhi-debnamwaad ndankiiwinwaa. Oodi dash epiichi yaad Guardian ezhnikaadeg, Hunter Thompson ezhnikaazad zhoonyaa maanaad meznibiigenjin, gii-giishpnadoon mzinbiigewinan gaa-zhichigaaded zhiwe sa nonj gegoo nikeying. Nongwa dash bigo’ayaawining wii-waamjigaadeg gwej shki-bjiinag.

Ónwa’k Ontotáhsi (Emergence) Ronnokwehón:we rotiráhston, Guardian Capital Group Limited tánon Hunter tánon Valerie Thompson ne 2020 tahóntka’we. Ne karó:ron ne ki’ ne ratiró:roks enhonthró:ri, tánon é:so tsi enhonwatharáhkwe ne raráhstha tsi ní:ioht tsi rotiié:nen ne raotiio’ténhsera. Tsi náhe shihoió’te ne Guardian, ratiráhstha shakoienawá:se Hunter Thompson rohní:non ne karáhston, ónwa nikahá:wis tsi ní:ioht tsi kaio’tén:en. Ónen’ nón:wa tsik ónhka enwá:ton eniontkátho ne entewatié:renhte ne é:so iohserá:ke.

ᓴᖅᑭᐸᓪᓕᐊᔪᑦ ᐱᓯᒪᔪᑦ ᑐᓂᕐᕈᓯᐊᓚᐅᖅᑎᓪᓗᒋᑦ ᓄᓇᖃᖅᑳᖅᓯᒪᔪᐃᑦ ᓴᓇᐅᒐᖏᓐᓂ ᐱᓯᒪᓪᓗᑎᑦ ᒐᐅᑎᐊᓐ ᑳᐱᑐᓪ ᒎᑉ ᓕᒥᑎᑦ (Guardian Capital Group Limited) ᐊᒻᒪᓗ ᕼᐊᓐᑐ ᐊᒻᒪᓗ ᕚᓗᕆ ᑖᒻᓴᓐᑯᓐᓄᑦ (Hunter and Valerie Thompson) 2020ᒥ. ᑲᑎᖅᓱᖅᑕᐅᓯᒪᓂᖏᑦ ᐱᓯᒪᔪᑦ ᑲᑎᖅᓱᐃᔨᓂᑦ, ᑭᓯᐊᓂᓕ ᓴᖅᑭᔮᖅᑎᑦᓯᔪᑦ ᑭᒃᑰᓂᖏᓐᓂᑦ ᓴᓇᙳᐊᖅᑎᐅᔪᑦ, ᓴᓇᙳᐊᖅᓯᒪᔭᖏᑦ ᐸᐸᑕᐅᕙᓪᓕᐊᓯᒪᓂᖏᓐᓄᑦ. ᐱᓕᕆᖃᑦᑕᖅᑎᓪᓗᒍ ᒐᐅᑎᐊᓐᒥ, ᓴᓇᙳᐊᖅᓯᒪᔪᓂᑦ ᓂᐅᕕᕋᖅᑎᑦ ᕼᐊᓐᑐ ᑖᒻᓴᓐ ᓂᐅᕕᖃᑦᑕᓚᐅᖅᓯᒪᔪᖅ ᓴᓇᔭᐅᓯᒪᔪᓂᑦ ᑕᐃᑦᓱᒪᓂᒋᐊᖅ. ᒫᓐᓇᓕ ᓇᐅᓕᒫᕐᓄᑦ ᑕᑯᔭᒐᑦᓴᐅᓕᖅᑐᑦ ᓯᕗᓪᓕᖅᐹᕐᒥ ᐊᕐᕌᒍᕋᓴᐃᑦ ᓈᓯᒪᓕᖅᑎᓪᓗᒋᑦ.

Funded by Guardian Capital Indigenous Art Fund. Presenting new research from the Art Conservation Program at Queen’s.
Guardian Capital Indigenous Art Fund gii-diba’’ige. Gii-ininigaade shki-ndagkenjigewin oodi Art Conservation Program ezhikaadeg gkinoomaadwin oodi Queen’s Ishpi-gkinoomaagewigamigong.
Guardian Capital Indigenous Art Fund thonatká:wen ne ohwísta. Shakotina’tón:nis ne á:se tsi kariho’kwa:ton né:ne Art Conservation Program ne Queen’s.
ᑮᓇᐅᔭᖃᖅᑎᑕᐅᔪᑦ ᒐᐅᑎᐊᓐ ᑳᐃᑐᓪ ᓄᓇᖃᖅᑳᖅᓯᒪᔪᑦ ᓴᓇᙳᐊᖅᓯᒪᔭᖏᓐᓂᑦ ᑮᓇᐅᔭᖃᖅᑎᑦᓯᒍᑎᒥ. ᓴᖅᑭᔮᖅᑎᑦᓯᓪᓗᑎᓪᓗ ᓄᑖᕐᓂ ᖃᐅᔨᓴᕈᑕᐅᓯᒪᔪᓂᑦ ᓴᓇᙳᐊᖅᓯᒪᔪᓂᑦ ᐱᐅᓕᑦᓯᒋᐊᕐᓂᕐᒧᑦ ᐱᓕᕆᐊᖑᔪᒥ ᑯᐃᓐᔅ ᓯᓚᑦᑐᓴᕐᕕᕐᔪᐊᖓᓐᓂ.
Hero image: Jessie Oonark, Untitled, around 1970, wool felt and cotton thread. Gift of Guardian Capital Group Limited, 2020. Photo: Bernard Clark. Public Trustee for Nunavut, Estate of Jessie Oonark

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