��Ѹ��Դ��߿�Ƭ Library the perfect home for student art installation

trevor.kenney — Tue, 21 Oct 2014 20:45:15 +0000

The ��Ѹ��Դ��߿�Ƭ of Lethbridge Library is embracing the ‘library as place’ concept, recognizing that library users should see themselves mirrored in their surroundings. As part of a ��Ѹ��Դ��߿�Ƭ situated on traditional Blackfoot land, it was only fitting then that the library found a home for Grant Spotted Bull’s Medicine Wheel Series art installation.

Grant Spotted Bull is a third-year bachelor of fine arts student at the U of L.

Spotted Bull, of Blackfoot heritage and born and raised on the nearby Blood Reserve, is a third-year bachelor of fine arts student at the U of L. His work speaks to the ideal of library as place.

“Grant’s paintings reflect where we are situated – in the heart of Blackfoot territory,” says Andrea Glover, Native American Studies librarian. “The work enriches the library space, reflects the diversity of our users, stimulates discussions about cultural memory and preserves a unique legacy.”

Married (Suzanne Williams Spotted Bull) and a father to four children (Christopher, Colten, Jessica and Tyler), Spotted Bull draws his talent and inspiration from his ancestors, namely his maternal grandmother Mary Eva Spotted Bull.

“My mother told me stories about Mary Eva and how the nuns thought she should go to school for art back east. Her parents wanted her to marry instead so she put her dreams aside,” says Spotted Bull. “Many of her children and grandchildren possess the same artistic talents. I feel blessed to be fulfilling my dreams by attending the ��Ѹ��Դ��߿�Ƭ of Lethbridge.”

The four-painting series, located on Level 10 of the library, tells the story of colonialism and its effects on First Nations people.

He explains the four-painting series, located on Level 10 of the library, as telling the story of colonialism and its effects on First Nations people.

“I had a dream a few years before I became a student,” he says. “In the dream I recall seeing an image, which I interpreted as a medicine wheel. I captured the image on watercolour paper using pencil crayons as my medium. It has an ethereal feel to it, with wisps of colours undulating like a flame of smoke.”

He then re-created the work as a much larger oil painting. It would eventually spawn a series.

“With no intentions of creating further interpretations, the foundation for the series began as one painting,” he says. “The painting I have called Pre is a reference to pre-colonial contact between Europeans and those of the Americas. The Fractured paintings symbolize the residential school era and the effects it had on the family as a whole. The Post paintings represent my generation, or those of us who did not experience residential school for ourselves. Lack of identity, alcoholism, physical, mental and sexual abuse are some of the issues many have experienced as a result of their parents, grandparents and great grandparents being forced to attend residential school.”

Jon Oxley, administrative manager of the U of L Art Gallery, says the series is both poignant and personal.

“These artworks are powerful, and have an incredible presence. His artwork speaks to some very timely social and political issues in Canada.”

Provoking discussion and reflecting the heritage of the Blackfoot people, the series is an ideal reflection of the library as place concept.

“We are proud to have this representation of indigenous knowledge in the Library,” says ��Ѹ��Դ��߿�Ƭ Librarian, Dr. Chris Nicol.

Oral History Project brings the past to life

david.kirby — Fri, 22 Nov 2013 15:31:23 +0000

The late English writer Rudyard Kipling once reflected, “If history were taught in the form of stories, it would never be forgotten.” ��Ѹ��Դ��߿�Ƭ of Lethbridge students Karissa Patton (BA ’13) and Maria Livingston would likely agree with that observation.

U of L master’s student Karissa Patton (BA ’13) and undergraduate student Maria Livingston are investigating the past as part of the Oral History Project. (Photo by Leslie Ohene-Adjei)

Last summer, Patton, who is now pursuing a master’s degree in history, and Livingston, a third-year Native American studies student, worked together on the Oral History Project, a story-gathering initiative supported by the U of L Art Gallery, ��Ѹ��Դ��߿�Ƭ Archives and the Centre for Oral History and Tradition.

Today Livingston continues to be involved in the project, which is aimed at helping people to enhance their understanding of artist Nicholas de Grandmaison (1892-1978) and his unique connections to First Nations communities. The ��Ѹ��Դ��߿�Ƭ has a vast collection of de Grandmaison artwork and artifacts, including 67 original pastel portraits that were donated to the U of L Art Gallery by BMO Financial Group earlier this year along with funding to support research related to the art gift.

A cultural icon of southern Alberta and one of the most important portraitists of First Nations people, de Grandmaison was a nomadic painter who often stayed with ranchers, farmers and aboriginal families for several days at a time while he painted their portraits. His work not only documented the history of First Nations people in Canada, but was also unmatched in its ability to capture the unique personalities of those who sat for portraits.

With guidance from U of L archivist, Mike Perry (MEd ’06), and professor Lisa Doolittle of the Department of Theatre and Dramatic Arts, Patton and Livingston contacted members of the Kainai, Siksika and Piikani First Nations, searching for and interviewing people who may have had contact either with de Grandmaison or any of the subjects featured in his paintings.

“Collecting individual narratives is important because people aren’t writing things down as much as they once did. Also, the stories that have been included in historical archives in the past have often just been those of famous people and politicians,” says Patton.

To ensure the full range of stories compiled in the oral history project are shared for years to come, Livingston is now working on an educational program for high school students and an online resource for middle school students. The initiatives are a way of giving back to First Nations communities and youth, says Livingston, who is of Cree heritage.

“I’m thankful for the opportunity to work on this project,” she says. “Along with hearing great storytelling, I’ve learned more about First Nations culture and history, and that complements what I’ve been learning in school.”

The ��Ѹ��Դ��߿�Ƭ officially launched the Centre for Oral History and Tradition on Tuesday, November 26, 2013 at the Galt Museum & Archives. To view the news release, follow this link.

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��Ѹ�����Դ���߿�Ƭ Library the perfect home for student art installation

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