Public Writing, Sovereign Reading: Indigenous Language Art in Public Space

Robinson, Dylan

doi:10.1080/00043249.2017.1367195

Cited by 21 publications

(7 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Such paying attention is described by Stó:lō writer and activist, Lee Maracle, as an emotional, spiritual, and physical act, a synesthesia, a cross‐sensory perception that involves direct and indirect speech, nonverbal sounds, and haptic engagement, whereby the viewer/listener's body is connected to the dynamics of listening (Maracle, 2015). It is also a generative act (Carter, 2015; Robinson, 2017) a relational process (Carter, 2015; Mumford, 2016; Recollet, 2015) and a site for governance (Robinson, 2017; TallBear, 2014). Our process and resulting exhibition hinged on listeners' (especially white, nondisabled, settler) openness to change in terms of positionality and world view.…”

Section: Elements Of a Counter‐exhibition: Creating A Participatory Pmentioning

confidence: 99%

“…Prioritizing Anishinaabemowin demonstrated to nonindigenous visitors that being human does not rely upon western modes of understanding. As Dylan Robinson's (Stó:lo) work on artists' refusal to translate Indigenous artistic works into English has shown, this is not only an effective exercise in self‐determination, it also forces nonindigenous settlers to perceive the work in relation to location (Robinson, 2017). According to Robinson, such works do not offer to teach; instead, they demand action from the public to learn and, in so doing, relearn obligations of mutual care and to move forward together in a good way.…”

Section: Process and Access Oriented Curationmentioning

confidence: 99%

See 1 more Smart Citation

Elements of a counter‐exhibition: Excavating and countering a Canadian history and legacy of eugenics

Kelly

Manning

Boye

et al. 2021

J History Behavioral Science

View full text Add to dashboard Cite

Into the Light, a recently mounted collectively curated museum exhibition, exposed and countered histories and legacies of 20th‐century “race betterment” pedagogies taught in Ontario's postsecondary institutions that targeted some groups of people, including Anishinaabe, Black, and other racialized populations, and disabled and poor people, with dehumanizing ideas and practices. This article advances understandings of the transformative potential of centralizing marginalized stories in accessible and creative ways to disrupt, counter, and draw critical attention to the brutal impacts of oppressive knowledge. The “counter‐exhibition” prioritized stories of groups unevenly targeted by such oppression to contest and defy singular narratives circulating in institutional knowledge systems of what it means to be human. The authors draw on feminist, decolonial and disability scholarship to analyze the exhibition's curation for the ways it collectively and creatively: (1) brought the past to the present through materializing history and memory in ways that challenged archival silences; and (2) engaged community collaboration using accessible, multisensory, multimedia storytelling to “speak the hard truths of colonialism” (Lonetree) while constructing a new methodology for curating disability and access (Cachia). The authors show how the exhibition used several elements, including counter‐stories, to end legacies of colonial eugenic violence and to proliferate accounts that build solidarity across differences implicated in and impacted by uneven power (Gaztambide‐Fernández).

show abstract

Section: Elements Of a Counter‐exhibition: Creating A Participatory Pmentioning

confidence: 99%

Section: Process and Access Oriented Curationmentioning

confidence: 99%

Elements of a counter‐exhibition: Excavating and countering a Canadian history and legacy of eugenics

Kelly

Manning

Boye

et al. 2021

J History Behavioral Science

View full text Add to dashboard Cite

show abstract

“…Signatures in Chinese characters, as well as double signatures in Chinese characters and the Latin alphabet, are utilised to analyse the identity of modern Chinese artists (Clunas 2018). The written text language in public artworks is used to explore the indigenous sovereignty perception (Robinson 2017).…”

Section: Image Features Utilised In Current Art History Researchmentioning

confidence: 99%

Computer Vision Applications for Art History: Reflections and paradigms for future research

Foka

2021

Electronic Workshops in Computing

View full text Add to dashboard Cite

“…Christine Stewart (2017) writes, “Stewardship decentres the isolated individual as the privileged recipient or scene of care, and forefronts ‘epistemically-diverse’ conceptions and collective practices of care that centre upon relationships to land, territory, and nonhumans” (p. 4). Dylan Robinson (2017) contends that Indigenous counter-archiving requires research-creation practices that foreground situated knowledges, relationships, and Indigenous modes of perception.…”

Section: Anarchiving As Research-creation Practices: Instant Class Kitmentioning

confidence: 99%

Socially Engaged Art, Experimental Pedagogies, and Anarchiving as Research-Creation

Springgay

Truman

MacLean

2019

Qualitative Inquiry

View full text Add to dashboard Cite

Archives, as repositories of culture and knowledge, are closely linked to colonial power, control, hegemony, and conquest. In recognizing the limitations and problems of conventional archives, scholars and artists offer counter-archiving as a method of interrogating what constitutes an archive and the selective practices that continuously erase particular subjects. Unlike static, stable, and linear colonial archives, counter-archives are grounded in accountability and reciprocity. Similarly, the anarchive is concerned with what it can do in the present-future. As such, anarchiving is less a thing, then a process or an action. This article examines anarchiving as research-creation practices through three provocations: anarchiving as indeterminate transformation, anarchiving as felt, and anarchiving as response-ability. We examine a particular anarchiving project Instant Class Kit dedicated to radical pedagogies and social justice. Anarchiving is fundamentally about practicing an ethics based on response-ability, stewardship, care, and reciprocity that center relationships to land, territory, human, and more-than-human bodies.

show abstract

Public Writing, Sovereign Reading: Indigenous Language Art in Public Space

Cited by 21 publications

References 0 publications

Elements of a counter‐exhibition: Excavating and countering a Canadian history and legacy of eugenics

Elements of a counter‐exhibition: Excavating and countering a Canadian history and legacy of eugenics

Computer Vision Applications for Art History: Reflections and paradigms for future research

Socially Engaged Art, Experimental Pedagogies, and Anarchiving as Research-Creation

Contact Info

Product

Resources

About