{"id":598,"date":"2016-10-26T11:25:27","date_gmt":"2016-10-26T15:25:27","guid":{"rendered":"http:\/\/experimentalstudio.ca\/foundations\/?p=598"},"modified":"2016-11-04T16:32:22","modified_gmt":"2016-11-04T20:32:22","slug":"bonus-paintings","status":"publish","type":"post","link":"https:\/\/experimentalstudio.ca\/foundations\/2016\/10\/26\/bonus-paintings\/","title":{"rendered":"Bonus Paintings!"},"content":{"rendered":"

Nina Chanel Abney:<\/strong><\/p>\n

The role of politics, race, power, and sexuality are at the heart of much of Abney\u2019s work. Her recent solo exhibition, Always A Winner<\/em>, directly addressed police brutality and the #Blacklivesmatter movement in America. Her work pulls from contemporary politics and pop culture and addresses them through a practice of absurdly exaggerated forms, anti-realism, and an adamantly \u00a0pop aesthetic. Her sensibility pulls from a vast mix of sources ranging from South Park to Romare Bearden. –Project for Empty Space<\/a><\/p>\n

\"Nina
Nina Chanel Abney
Let’s Go Hoop
Acrylic on canvas
http:\/\/saintheron.com\/wp-content\/uploads\/2013\/11\/lets-hoop-abney.jpg
2013<\/figcaption><\/figure>\n

<\/p>\n

\"Nina
Nina Chanel Abney Why
acrylic, spray paint on canvas
96″x119″
2015
(Photo: Courtesy of Kravets Wheby)
http:\/\/www.kravetswehbygallery.com\/ninachanelabney?lightbox=image_1qrp<\/figcaption><\/figure>\n
\"Nina
Nina Chanel Abney Who
Unique ultrachrome pigmented print, acrylic, spray paint on canvas
96″x 112″
2015
(Photo: Courtesy of Kravets Wheby)
http:\/\/www.kravetswehbygallery.com\/ninachanelabney?lightbox=image_1qrp<\/figcaption><\/figure>\n
\"Nina
Nina Chanel Abney
Fuck-T-EOP
http:\/\/www.ninachanel.com\/WORK-2
https:\/\/nchanel.przm.com\/home<\/figcaption><\/figure>\n
\"Installation
Installation view of Nina Chanel Abney, Hothouse, 2016, at the Whitney Museum of American Art, New York. Photo courtesy of the artist and Kravets Wehby Gallery.<\/figcaption><\/figure>\n

Lawrence Paul Yuxweluptun – an artist of Coast Salish and Okanagan descent, graduated from the Emily Carr College of Art and Design in BC. Influential as both artist and activist, Yuxweluptun merges traditional iconography with representations of the environment and the history of colonization, resulting in his powerful, contemporary imagery; his work is replete with masked fish farmers, super-predator oil barons, abstracted ovoids, and unforgettable depictions of a spirit-filled, but now toxic, natural world. -http:\/\/moa.ubc.ca\/portfolio_page\/lawrence-paul\/<\/p>\n

\"Lawrence
Lawrence Paul Yuxweluptun
The Impending Nisga’a’ Deal. Last Stand. Chump Change, 1996
acrylic on canvas
201.0 cm x 245.1 cm
http:\/\/projects.vanartgallery.bc.ca\/publications\/75years\/exhibitions\/2\/1\/artist\/43\/96.27<\/figcaption><\/figure>\n

Yuxweluptun’s strategy is to document and promote change in contemporary Indigenous history in large-scale paintings (from 54.2 x 34.7cm to 233.7 x 200.7cm), using Coast Salish cosmology, Northwest Coast formal design elements, and the Western landscape tradition. -http:\/\/lawrencepaulyuxweluptun.com\/<\/p>\n

\"Lawrence
Lawrence Paul Yuxweluptun. An Indian Game (Juggling the Books), 1996. Acrylic on canvas. 153 x 209 cm. http:\/\/www.cbc.ca\/beta\/arts\/yuxweluptun-indigenous-art-vancouver-1.3601559<\/figcaption><\/figure>\n
\"Lawrence
Lawrence Paul Yuxweluptun, Portrait of a Residential School Girl, 2013. Acrylic and gold leaf on canvas, 177 x 135 cm. http:\/\/canadianart.ca\/reviews\/vancouver-entrances-lawrence-paul-yuxweluptun-and-beau-dick\/<\/figcaption><\/figure>\n
\"Lawrence
Lawrence Paul Yuxweluptun, Fish Farmers They Have Sea Lice,, 2014. Acrylic on canvas, 162.6 x 244 cm. http:\/\/canadianart.ca\/reviews\/vancouver-entrances-lawrence-paul-yuxweluptun-and-beau-dick\/<\/figcaption><\/figure>\n

He gets angry\u00a0about missing and murdered aboriginal\u00a0women and the role played by residential schools in dismantling indigenous culture. He thinks National Aboriginal Day on\u00a0June 21 should be declared a national holiday on par with Victoria Day. He also thinks there should be a referendum on a new name for British Columbia that recognizes aboriginal sovereignty. One of his suggestions is Traditional Native Territories.<\/p>\n

Yuxweluptun has even come up with a term to describe the effect of settler culture on indigenous people: he calls it \u201ccolonial stress disorder syndrome.\u201d From\u00a0http:\/\/vancouversun.com\/entertainment\/local-arts\/lawrence-paul-yuxweluptun-the-indigenous-history-painter-of-modern-life<\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Nina Chanel Abney: The role of politics, race, power, and sexuality are at the heart of much of Abney\u2019s work. Her recent solo exhibition, Always A Winner, directly addressed police brutality and the #Blacklivesmatter movement in America. Her work pulls from contemporary politics and pop culture and addresses them through a practice of absurdly exaggerated […]<\/p>\n","protected":false},"author":18,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"footnotes":""},"categories":[5,1],"tags":[],"class_list":["post-598","post","type-post","status-publish","format-standard","hentry","category-portfolio-3-painting","category-uncategorized"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p7THRs-9E","_links":{"self":[{"href":"https:\/\/experimentalstudio.ca\/foundations\/wp-json\/wp\/v2\/posts\/598","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/experimentalstudio.ca\/foundations\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/experimentalstudio.ca\/foundations\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/experimentalstudio.ca\/foundations\/wp-json\/wp\/v2\/users\/18"}],"replies":[{"embeddable":true,"href":"https:\/\/experimentalstudio.ca\/foundations\/wp-json\/wp\/v2\/comments?post=598"}],"version-history":[{"count":3,"href":"https:\/\/experimentalstudio.ca\/foundations\/wp-json\/wp\/v2\/posts\/598\/revisions"}],"predecessor-version":[{"id":758,"href":"https:\/\/experimentalstudio.ca\/foundations\/wp-json\/wp\/v2\/posts\/598\/revisions\/758"}],"wp:attachment":[{"href":"https:\/\/experimentalstudio.ca\/foundations\/wp-json\/wp\/v2\/media?parent=598"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/experimentalstudio.ca\/foundations\/wp-json\/wp\/v2\/categories?post=598"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/experimentalstudio.ca\/foundations\/wp-json\/wp\/v2\/tags?post=598"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}