Breaking Down Stereotypes: First Peoples House of Learning (FPHL)

This is an exhibition of posters that combat racist labels and assumptions with positive representations of Indigenous identity. In collaboration with photographer Annie Sakkab, the posters were created by First Peoples House of Learning (FPHL) at Trent University with volunteers from the Indigenous student community.

When pursuing post-secondary education, Indigenous students often face the ongoing impacts of colonization and historical trauma while reclaiming and revitalizing their own cultural identities. In some cases, they may be learning about who they are as Indigenous peoples for the first time. At Trent University, FPHL offers cultural services to a diverse community of Indigenous learners (First Nations Status, Non-Status, Métis and Inuit), providing them with emotional, spiritual, cultural, and physical support as they navigate the university and their personal growth.

In recent years, FPHL recognized that many students struggle with their sense of identity and endure racist treatment from fellow students, professors, and university staff stemming from social and cultural stereotypes. Inspired by the positive impact of a poster series in her own community, Cultural Advisor/Counsellor Betty Carr-Braint set out to confront these harmful misconceptions and create an opportunity for Indigenous students to share their truths. The team at FPHL worked together to bring Breaking Down Stereotypes to life and were excited to launch the project celebrating Indigenous pride and identity at the annual Elders Gathering in 2019. Carr-Braint and the FPHL are very proud of this project and are so happy to be able to share it with communities beyond the campus.

Learn more about FPHL.

Betty Carr-Braint provides more details about how the project came together:

“This project came together over a couple of years here at Trent University. As the Cultural Advisor/Counsellor at First Peoples House of Learning, I support students who are struggling in a variety of areas; emotionally, spiritually, culturally, physically, and mentally.  Through this process we found a shared experience as we realized many of our students were struggling with identity, feeling traumatized by the stereotypical responses from professors, other students, and staff as well. Through no fault of their own Indigenous students were often questioned about their identity, about why they did didn’t know their own history, about why “you people” don’t pay for education or pay taxes and the list of misconceptions and myths goes on. I felt that we needed to educate the broader University about these inappropriate and often racist remarks. I was involved in a poster series in my own community a few years ago and remembered what an impact that had on the women in the community. This was a bit different and yet I felt like we could create something that breaks down these stereotypes. The Team at First Peoples House of Learning (FPHL) was in total support of this idea, and we took the time to bring this one to life.  We are so grateful for all the support.

Often, Indigenous students struggle with the on-going impacts of colonization and historical trauma. As a result of the historical attempts to assimilate our nations many students are going through a process of restoring, revitalizing, and reclaiming their own cultural identity, or may even be in the process of learning who they are as Indigenous peoples. At the same time, they are also learning what it means to be a learner at a University where there is often little Indigenous representation.

Throughout the years, we have heard from our students, the hurtful and often racist remarks they hear; comments such as, “you don’t look like an Indian” or “let’s ask her/him, they are native”, thinking Indigenous students are experts on all things native, or “are you sure you are Aboriginal” and the list goes on.

At FPHL, our job is to continually challenge and change these perceptions. We felt it was important to have Indigenous students share the truth about their experiences. We reached out to Indigenous students across Trent University and asked for volunteers to be part of this Poster series that would look at breaking down these stereotypes. We had the Indigenous students choose which stereotype they wanted to address and then we countered the stereotype through photo messaging showing a different view – strong Indigenous students who are proud of who they are. The other point of this series was to show that Indigenous peoples come in all colours, from light skinned to dark skinned and everything in between.

Our Poster series, “Breaking Down Stereotypes”, was launched at the Elders Gathering in 2019 and received amazing acknowledgment. We are working at creating safety for Indigenous students across campus. It is important to acknowledge the courageous students who chose to engage in our poster series and we are so grateful to each of them. Of course, we would be remiss if we did not acknowledge our photographer extraordinaire, Annie Sakkab. Her willingness to support us as we brought this project to life has been so incredible. Her compassion and encouragement helped the students navigate their experiences as they engaged with expressing the stereotypes. Our gratitude for the amazing photos as well as the design and creation of our posters. We are so proud of this project.”

– Betty Carr-Braint


Autism Home Base: Meet Me At The Hub

Created by members of Autism Home Base (AHB), this exhibition brings together a selection of work centered on the theme of connection through shared interests and experiences. ABH is a social network for adults on the autism spectrum, which aims to empower adults with autism and their families to lead rich, active lives, and is committed to providing support and inclusion across the autism spectrum. The self-expression and generous reflection of identity in this exhibition demonstrate the pride and complexity of lived autism experiences. Each work is an opportunity to connect and to build understanding across difference. Taken together, the works illustrate the diversity and beauty of the neurodivergent perspectives that enrich our communities. The exhibition says: what makes us unique also unites us. While stereotypes divide, genuine connection brings us together.

AHB Member Hannah Warner was invited to contribute to this introduction. What follows is her reflection on the project:

“The AHB Hub is a non-judgmental space which facilitates opportunities for discovery, socialization, and recreation, all within a safe and structured environment. This is important because many of us on the spectrum struggle with initiating our own opportunities and/or relationships. At the hub, shared experiences become a foundation for inclusiveness and compassionate expectations. It is a refuge where we can be ourselves without constant reminders that we are different.

Autism is complicated. Every one of us experiences autism differently, but the way others treat us because of it is pretty common. I have felt overwhelmed and isolated in the neurotypical world. However, I still wouldn’t want to be ‘normal.’ Instead, I cherish the beauty and inspiration my autistic brain finds in the world and its ability to recognize the things I am passionate about. Sadly, our interests are often used to alienate us. When it comes to autism, many people see us only as a caricature, assuming our special interests are the only thing there is to know about us. They read our enthusiasm and eagerness to share information as something to avoid. Misrepresenting the experiences that we live for as eccentric obsessions is a stereotype that undermines a great potential for recognizing that humanity is complicated and that there are more similarities than differences between us.

Each member of AHB is multifaceted and multidimensional. Like anyone else, we have interests and hobbies, hopes and fears. Our hearts are just as big as our brains and worth getting to know. Our feelings are visceral and sometimes insuppressible, similar
to your own. Look carefully and I am sure you will find yourself reflected in some way. So please enjoy this exhibit. Find out a little about a stranger; discover a little about yourself.”

– Hannah Warner, Member of Autism Home Base

Thank you to all of the AHB members who took part in this exhibition and shared their stories. Our gratitude also goes out to Hailey Yates (art instructor), Rachel Major (program support), and Tristin Haines (blueburnmedia.ca) who edited the art-making video.

Virtual Tour

Terra Economicus

Will Kwan’s research-driven artistic practice maps complex cultural and economic relations to reveal how power is consolidated and how legacies of colonialism persist in the present. In Terra Economicus, Kwan pulls together a constellation of works created over the last decade that explore conceptions of landscape as expressions of privatization, commodification, and segregation.

The central work, Terra Economicus (Superior) samples from the palette of Lawren Harris’ iconic painting Lake Superior (1926), and links the northern Ontario landscapes captured by the Group of Seven with found video footage taken from online real estate listings in the same regions of the province. These clips, shot by drone, alternate between soaring views of the properties and floating interior shots of the luxury summer homes built on them. Although the area is densely populated with cottages, the footage had been carefully shot to create an illusion of solitude and exclusivity.

This impulse to frame and privatize land is also referenced in the title Terra Economicus.  A reworking of the Latin terra nullius, which means “no one’s land”, the term was used as a legal construct in the colonization of North America and Australia to justify claims to new territory. This deliberate negation of Indigenous people and history supported waves of settler colonialism in Canada. The empty landscape paintings of the Group of Seven further helped to forge a fictitious national identity that celebrated the land as open for ownership and extraction. Each work in this exhibition unpacks a different way that an economic belief system or cultural narrative is imposed on the natural world as a frame for exploitation and dispossession.

Will Kwan is a Hong Kong-born, Toronto-based Canadian artist. His work is held in the permanent collections of M+ (Hong Kong), Folkestone Artworks (Kent), and Hart House at the University of Toronto. Kwan has been artist-in-residence at the Centre for Chinese Contemporary Art (Manchester), the Headlands Center for the Arts (Sausalito), the Irish Museum of Modern Art (Dublin) and the Art Gallery of Ontario (Toronto). He has participated in exhibitions at MoMA PS1 (New York), ZKM Center for Art and Media (Karlsruhe), CAC Vilnius (Lithuania), the MAC VAL (Vitry-sur-Seine), the Art Museum at UofT (Toronto), the Art Gallery of Ontario, The Western Front (Vancouver), and in biennials/triennials in Liverpool, Folkestone, Montreal, and Venice. Kwan is an Associate Professor in Studio Art in the department of Arts, Culture and Media, University of Toronto Scarborough, and the Masters of Visual Studies Program at the John H. Daniels Faculty of Architecture, Landscape, and Design, University of Toronto St. George.

Exhibition Publication

View a digital copy of the publication for this exhibition here.

Artist Talk + Q&A

Exhibition Tour with Will Kwan


Will Kwan: Terra Economicus

The artist gratefully acknowledges support from the Department of Arts, Culture and Media, University of Toronto Scarborough for this exhibition.

This exhibition is supported by the TD Ready Commitment.

Oshawa’s Jewel by the Lake

 Since the late 19th Century, Oshawa’s shores along Lake Ontario, that currently make up Lakeview Park, have been a popular summer destination. This year marks the 100th anniversary of Lakeview Park. Presented in partnership with the Oshawa Museum, this exhibition features historical photographs from the Thomas Bouckley Collection, looking back at the park’s rich history. Presented in tandem with the Oshawa Museum’s online exhibition Lakeview Park Oshawa, together these shows capture many important milestones of the last century in the park: www.lakeviewparkoshawa.wordpress.com

Part of the traditional hunting grounds of the Mississaugas of Scugog Island, the land in this area was divided after the arrival of European and American settlers in the late 1790s. In 1840, the first efforts were made to develop the Oshawa Harbour with the construction of the pier and breakwaters by the Sydenham Harbour Company.  The opening of the Harbour brought further settlement along the lake, including the construction of the homes that comprise the current Oshawa Museum.

As early as 1890, the area by the lake, referred to more generally as “Oshawa-on-the-Lake,” was used for summer recreation. In the summer, the Oshawa Railway ran an open aired streetcar from downtown to the lake, that transported beachgoers with 11 trips per day for a fare of 5 cents. In 1920, the McLaughlin family purchased the 44 acres of lakefront property in the name of General Motors of Canada. On July 16, 1920, General Motors then sold the land to the Town of Oshawa for $1, contingent that the land become a public park. While the area along the lakeshore had long been used as a park, this gift made the area public parkland and accessible to all. The name, Lakeview Park, was selected from approximately 240 submitted names and officially opened in late September. The occasion was presided over by Mayor Stacey and was marked with live music and free transportation to the park from the Oshawa Railway.

Lakeview Park has been enjoyed by citizens of Oshawa and beyond for over a century, and as we look back at its history to celebrate its 100th birthday, we are reminded of summer days gone by, cold wintry winds off the lake, and are filled with excitement for the future of this waterfront park.

Aberrations

Aberrations is the first major exhibition at the RMG dedicated to the wonderful range of photo-based work in the collection. Like many public galleries our size, our photo collections have not been given the same attention as other media, and the collecting histories have been relatively short.  This exhibition explores our rich holdings through four frameworks: strange secrecy, trick mirror, shifting ground, and ordering the world. These propositions act as guideposts to view the works in new ways, inviting new connections and ways of understanding.  The selected photographs represent vastly different time periods and locations, as well as wide ranges of scale, colour, and material.

With the prevalence of photography in everyday life, photographs have a unique ability to shape the way we see and understand the world. The term aberration means something different from the norm. We invite you to lean in to these differences, relish in the juxtapositions, and bring fresh eyes to these incredible works.

Virtual Tour

Aberrations

Photos by Toni Hafkenscheid

Journeys

On now until September 25, 2022.

In countless literary epic journeys, the hero(ine) encounters trials and adventures along their path, which ultimately lead to personal growth and transformation. While these mythic stories are fictional, they can reflect our common experiences. Over the course of our lives we too embark on both physical and emotional journeys that lead to new perspectives. Drawing together works to explore how the journey can often be more important than the destination, this Permanent Collection exhibition is divided into four sections: Going Places, Movement of Goods, Wandering Artists, and Spiritual Explorations.

Our Permanent Collection holds over 4,700 artworks and is continuously evolving through both the exploration of fresh narratives as well as the acquisition of new artwork. As the world experiences restrictions on physical travelling, we invite you to let the collection take you to new places and consider the journey we are all on together.

Experience an exciting NEW 360 tour of Journeys here

Journeys

The Perfect Day by Sophie Sabet

The Perfect Day is an exhibition of new video and sculpture work by emerging artist Sophie Sabet, produced during her residency in the Artist Incubator Lab. Sabet is a filmmaker who mines personal relationships and found footage from her past to explore processes of migration and creation, body politics, and the myriad ways we reveal and conceal ourselves in the world. For this new work, she blends home-video footage from her childhood with intimate present-day footage in a single-channel video. The work touches on her mother’s own practice as an artist and accesses images that reveal how bodies, spaces, and objects can act as vessels for memories, emotions, and trauma. A series of cast plaster sculptures are presented alongside the video. Created through a process of filling and extracting, they become material representations of this inner weight.

Sophie Sabet is a Toronto-based visual artist working predominantly in video. Her practice is often autobiographical and intimately traces the complexities and fluidity of the domestic sphere. She is interested in different forms of communication, creating space for empathy and the process of working through heterogeneous cultural and personal perspectives. She holds a BA in Art History from Queen’s University, and a MFA in Documentary Media Studies at Ryerson University in Toronto, Canada. Sabet has exhibited solo exhibitions at the Student Gallery at the Ryerson Image Centre (Toronto) in 2016 and Flux Gallery (Winnipeg) in 2017. She has participated in several artist residencies including the Banff Centre for Arts and Creativity in 2017 and the Vermont Studio Centre in 2018. Sabet recently completed a solo show at the Mississauga Museums for CONTACT’s 2019 photography festival (Toronto) where she received the Gattuso prize for an outstanding Featured Exhibition.

This exhibition is supported by the RBC Foundation and the RBC Emerging Artist Project.

Painters Eleven

The RMG’s collection of works by Painters Eleven has grown to over 1000 works. The gallery’s first mandate emphasized collecting and exhibiting the work of the group, and we remain committed to this by showing works by members of Painters Eleven at all times. Each exhibition often brings together different works along a common theme. The current exhibition focuses on works that depict organic forms or include representations of nature.

Psychedelic Oshawa

Psychedelic Oshawa recovers and reimagines a formative period in the city’s cultural awakening during the turbulent years of the 1960s and early 1970s. Contemporary artists from Durham Region and beyond were invited by guest curator Gary Genosko to use historical artefacts as springboards to create new works that bring past events and imagery into focus. These new works are paired with historical reference materials, including photographs, paper ephemera, and obsolete media such as 8-track tapes. Made with hand-knit wool, digital colour illustration, felt, screen printing, paint, yarn, and beeswax, these diverse works pay tribute to a poorly documented era, celebrating its strengths and underappreciated accomplishments.

Gary Genosko is an independent curator and professor at Ontario Tech University in Oshawa.

Participating Artists:

Alison Ariss, textile art historian and knitter

Monique Brent, portraitist and mural painter

Bob Bryden, musician and writer

Betty Carpick, community arts organizer and designer

Scott Cisco, amateur photographer

Desmond Clancy, pen and ink illustrator

Dani Crosby, illustrator and fine arts educator

Gary Gatti, painter and graphic designer

Gary Genosko, independent curator and professor

Hannah Genosko, printmaker and book artist

Len de Graaf, yarn painter and fibre educator

Doug Lewis, curator, videographer, arts educator

Nicole Marhong, painter and sculptor

Christof Migone, curator and sound artist

Martnya Pekala, student of painting

Kai Pinkerton, graphic designer

Thank you to Erin MacKeen, graphic designer and painter, for creating the exhibition logo.

Lithic Innards

Opening Reception: Friday, January 3, 2020, 7PM -10PM | Artist Talk: Friday, January 3, 2020 8:30PM

Lithic Innards is an exhibition of new work by Toronto-based artist Ellen Bleiwas. The installation’s assembly of unfired clay figures prod at conscious and unconscious knowledge, prompting an experience that is something like recognition, a form of looking that is both familiar and new all at once. The individual works are formed from molded masses or coils of clay, rolled and stretched long into slippery ropes. These soft, pliable coils are wound around and around to form towers that are pinched and smoothed, creating space and texture inside and out. The arrangement of these forms activates circular movement, which direct the viewer to move around the works in a circle, reinforcing the artist’s interest in repetition, reflection, and looking in. Holding space, the installation also produces a feeling of grounded monumentality characteristic of architectural forms and primordial rock. Inviting you into this space and into yourself, Bleiwas asks: do you know this place?

Ellen Bleiwas is an emerging visual artist based in Toronto. She has recently exhibited at Idea Exchange (Cambridge), Angell Gallery (Toronto), and Art Mûr (Montreal). Bleiwas holds a MFA from York University (2017) and a Master of Architecture from McGill University (2010). She has participated in artist residencies including Takt Kunstprojektraum (Berlin), Artscape Gibraltar Point (Toronto), and the School of Visual Arts (New York). Her practice has been supported through grants and awards from the Toronto Arts Council, the Social Sciences and Humanities Research Council of Canada, 401 Richmond through the 2017-18 Career Launcher Prize, and here at The Robert McLaughlin Gallery through the RBC Emerging Artist Residency Program. Immediately following her tenure at the RMG, Bleiwas is attending an artist residency at the NARS Foundation in New York, supported by the Canada Council for the Arts.

This exhibition is supported by the RBC Foundation and the RBC Emerging Artist Project