{ "objects" : [ { "embark_ID" : 4830, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4830", "Disp_Access_No" : "2020.002", "_AccNumSort1" : "", "Disp_Create_DT" : "2016", "_Disp_Start_Dat" : "2016", "_Disp_End_Date" : "2016", "Disp_Title" : "Trap", "Alt_Title" : "", "Obj_Title" : "<i>Trap</i>", "Series_Title" : "", "Disp_Maker_1" : "Duane Linklater", "Sort_Artist" : "Linklater, Duane", "Disp_Dimen" : "9 x 33 x 24 in. (22.86 x 83.82 x 60.96 cm)", "Disp_Height" : "9 in.", "Disp_Width" : "33 in.", "Dimen_Extent" : "Object", "Medium" : "Powder-coated trap, mirror, gypsum board, plywood, steel wall studs", "Support" : "", "Disp_Medium" : "Powder-coated trap, mirror, gypsum board, plywood, steel wall studs", "Info_Page_Comm" : "", "Dedication" : "Purchased with funds provided by the Contemporary Council, 2020.002", "Copyright_Type" : "", "Disp_Obj_Type" : "3-D Object", "Creation_Place2" : "", "Department" : "Contemporary", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "<span style="font-size:10pt">1/18/22 - This piece was in an exhibition "Becoming American" by Celfalonia, August 4 - September 30, 2018" An article about this exhibition can be found in the object record.<br/><br/>************<br/><br/>3/19/21 removed "Canadian" from the artist nationality, per the preference of the artist.<br/><br/>****************<br/>From the Acquisition Proposal, Summer 2020: In the fall of 2021, Linklater will be the subject of a survey exhibition at Frye Art Museum, organized by Chief Curator Amanda Donnan. Centering on notions of translation, migration, and occupation in relation to dominant systems of knowledge and value, the exhibition will unfold the artist’s persistent decolonial interrogation of “soft power” mechanisms of cultural memory. The museum is key among these, but Linklater’s intervention in other representational formations like the dictionary, encyclopedia, and popular media figure prominently as well. The exhibition will underscore the ways in which the artist has used common materials, conceptual gestures, and a lo-fi or “unmonumental” aesthetic to assert endurance and agency contra processes of (personal, cultural, informational) loss, opening exclusionary structures to Indigenous forms and ideas.<br/><br/>The proposed acquisition, <span style="font-style:italic">Trap</span> (2016), is slated for inclusion in the survey and encapsulates many of the themes key to the exhibition and to Linklater’s practice. The seemingly provisional sculptural assemblage brings together a tool for hunting—an activity connected to Indigenous sovereignty, cultural identity, and family traditions as well as the history of colonial contact/exchange—with building materials that reference the (dismantled) gallery walls and, by extension, institutional power structures. The raw materials of steel, wood, and gypsum are also directly associated with resource extraction in Canada, which has been a contentious issue vis a vis Indigenous land rights.<br/><br/><span style="font-style:italic">Trap</span> was first exhibited in <span style="font-style:italic">A Parallel Excavation: Duane Linklater and Tanya Lukin Linklater</span> at the Art Gallery of Alberta in 2016, which “explore[d] the complicated relationship between Indigenous peoples and institutions, and more specifically, the role of Indigenous art in the destabilization of institutional discourses through the implied physical breakdown of barriers.” Linklater’s works in the exhibition incorporated gypsum board (i.e. drywall), wood, and metal studs in various ways, dismantling and refiguring the gallery wall as a symbol of constructed settler space, the interface between institution/ideology and the public, and exclusionary practices. He has subsequently incorporated these materials in a number of works and installations, including <span style="font-style:italic">What then remainz </span>(2016/2021) a continually reconstructed piece that involves removing the drywall from a permanent gallery wall to expose the internal structure. The existing studs are replaced with new framing elements that have been painted red and powder-coated to spell out the work’s title: a reference to a judgment written by US Supreme Court Justice Sonia Sotomayor on the sovereignty of native peoples. Reenacting the erasure it alludes to while also functioning as a gesture of reoccupation and durability, this materialized phrase is drywalled over at the close of the exhibition but continues to live on within the institution. A new version of this piece will be installed at the Frye for Linklater’s exhibition.<br/><br/>In <span style="font-style:italic">Trap</span>, the artist converts the elemental museum/gallery architecture into a platform for Indigenous content: an animal trap like those he and his family members have long used for subsistence gathering. The act of hunting is fundamental to First Nations history and identity yet is deeply fraught with the debate over the current legal status of ancestral ways of living, much of which hinges on the interpretation of treaty provisions pertaining to the sustenance of a “moderate livelihood.” This is the subject of the film <span style="font-style:italic">Modest Livelihood</span> (2012) which Linklater made with fellow First Nations artist Brian Jungen and plans to adapt to multichannel installation for his survey. Another featured group of the artist’s works feature animal pelts on garment racks, alluding again to colonial trade, commercial resource extraction, and, by way of titles like <span style="font-style:italic">My Brother in Law, My Sister</span>, to familial relationships and questions of (human and nonhuman) selfhood and kinship.<br/> <br/>The trap included in the proposed sculpture is powered coated in an off white, or “bone white” as the artist refers to it, which simultaneously preserves the device by preventing rust, but also renders it inoperable. This points back to practices of collecting and displaying Indigenous historical artworks, which were made for cultural use but are alienated from their functional context in museum storerooms and vitrines. Placed on a mirror, which reflects the faces of those who behold it, and positioned on the gallery floor, the trap is “set” for the viewer, or is it for the artist? Indigenous people?<br/><br/><span style="font-style:italic">Exhibition History:</span><br/><span style="font-style:italic">A Parallel Excavation</span>, Art Gallery of Alberta, 2016 (reproduced in catalogue)<br/><span style="font-style:italic">Becoming American</span>, English Camp, San Juan Island, WA, 2018<br/><br/><span style="font-style:italic">Complements the collection / why recommended:<br/></span>This work was chosen for purchase with funds provided by the Museum’s Contemporary Council, in recognition of the artist’s important place within national contemporary discourse and the special local audience connection that will be formed through the forthcoming survey exhibition, programs, and publication. The purchase is timely, both in relation to the artist’s own upward trajectory (his work has recently been acquired by institutions including the San Francisco Museum of Modern Art and the Art Gallery of Ontario, among others) and to the ongoing national reckoning with the marginalization of BIPOC voices in cultural spaces and American society at large. The acquisition thus furthers the Frye’s mission of showcasing/supporting artists who are exploring the pressing issues of our time and of diversifying the collection to create an environment in which multiple identities, perspectives, and forms of expression are shared and valued. Relatively small but highly impactful, <span style="font-style:italic">Trap</span> expands our limited holdings of sculptural works while suggesting connections to pieces ranging from recent contemporary acquisitions like Juventino Aranda’s <span style="font-style:italic">untitled (badlands)</span> to historical hunting scenes in the Founding Collection.</span>", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2020.002_Massey_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2020.002_Massey_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2020.002_Massey_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2020.002_Massey_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "13998", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4606, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4606", "Disp_Access_No" : "2019.003", "_AccNumSort1" : "", "Disp_Create_DT" : "2016", "_Disp_Start_Dat" : "2016", "_Disp_End_Date" : "2016", "Disp_Title" : "From Sea to Dawn", "Alt_Title" : "", "Obj_Title" : "<i>From Sea to Dawn</i>", "Series_Title" : "", "Disp_Maker_1" : "Ramin Haerizadeh, Rokni Haerizadeh, Hesam Rahmanian", "Sort_Artist" : "Haerizadeh, Ramin, Rokni Haerizadeh, Hesam Rahmanian", "Disp_Dimen" : "", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Digital video (color, silent); 6:21 min.", "Support" : "", "Disp_Medium" : "Digital video (color, silent); 6:21 min.", "Info_Page_Comm" : "", "Dedication" : "Gift of Ramin Haerizadeh, Rokni Haerizadeh, and Hesam Rahmanian, 2019.003", "Copyright_Type" : "", "Disp_Obj_Type" : "Audio-Visual", "Creation_Place2" : "", "Department" : "Contemporary", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "<span style="font-size:10pt">Comprising over six thousand altered stills, <span style="font-style:italic">From Sea to Dawn </span>intervenes in the photojournalistic representation of migrants crossing into Europe, interjecting painterly patterns, fablelike animal imagery, and surreal mirroring effects. These modifications disrupt the Western moral codes (especially the sentimental, romanticizing pathos) embedded in the original photographs. The artists’ transformative video emphasizes individual objects that are the physical evidence of the lives of migrants—mylar blankets, plastic water bottles, flashlights, and orange life jackets—which reappear in various forms, including masks, torsos, and braces. By transposing the geometric forms, symmetry, and satire characteristic of the artists’ work, the video retells the migrants’ journey in a reenvisioned, Eastern visual language. <br/><br/>Video interview with RRH which has excerpts of From Sea to Dawn: <span style="font-family:''Calibri'';font-size:11pt">https://www.youtube.com/watch?v=CNrkehwCar4</span></span>", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2019.003_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2019.003_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2019.003_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2019.003_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "11935", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3834, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3834", "Disp_Access_No" : "2017.004", "_AccNumSort1" : "", "Disp_Create_DT" : "2016", "_Disp_Start_Dat" : "2016", "_Disp_End_Date" : "2016", "Disp_Title" : "Sketch for The Pig Went Down to the Harbor and Wept #3", "Alt_Title" : "", "Obj_Title" : "Sketch for <i>The Pig Went Down to the Harbor and Wept #3</i>", "Series_Title" : "", "Disp_Maker_1" : "Jim Woodring", "Sort_Artist" : "Woodring, Jim", "Disp_Dimen" : "11 1/8 x 14 in. (28.26 x 35.56 cm)", "Disp_Height" : "11 1/8 in.", "Disp_Width" : "14 in.", "Dimen_Extent" : "Sheet", "Medium" : "Pencil and acrylic ink on paper", "Support" : "", "Disp_Medium" : "Pencil and acrylic ink on paper", "Info_Page_Comm" : "", "Dedication" : "Gift of the artist, 2017.004", "Copyright_Type" : "", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "", "Department" : "Contemporary", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.004_Woods_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.004_Woods_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.004_Woods_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2017.004_Woods_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "7264", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3806, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3806", "Disp_Access_No" : "2017.003", "_AccNumSort1" : "", "Disp_Create_DT" : "2016", "_Disp_Start_Dat" : "2016", "_Disp_End_Date" : "2016", "Disp_Title" : "The Pig Went Down to the Harbor and Wept #6", "Alt_Title" : "", "Obj_Title" : "<i>The Pig Went Down to the Harbor and Wept #6</i>", "Series_Title" : "", "Disp_Maker_1" : "Jim Woodring", "Sort_Artist" : "Woodring, Jim", "Disp_Dimen" : "42 x 71 in. (106.68 x 180.34 cm)", "Disp_Height" : "42 in.", "Disp_Width" : "71 in.", "Dimen_Extent" : "Sheet", "Medium" : "Acrylic ink on paper", "Support" : "", "Disp_Medium" : "Acrylic ink on paper", "Info_Page_Comm" : "", "Dedication" : "Gift of the artist, 2017.003", "Copyright_Type" : "", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "", "Department" : "Contemporary", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "This one to be acquired by FAM, per Sarah 12/8/16; approved by Board on 4/24/17.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2017.003_Woods_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2017.003_Woods_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2017.003_Woods_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2017.003_Woods_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "7260", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3720, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3720", "Disp_Access_No" : "2016.022.05", "_AccNumSort1" : "", "Disp_Create_DT" : "2016", "_Disp_Start_Dat" : "2016", "_Disp_End_Date" : "2016", "Disp_Title" : "This Is Who We Are", "Alt_Title" : "", "Obj_Title" : "<i>This Is Who We Are</i>", "Series_Title" : "", "Disp_Maker_1" : "Inye Wokoma", "Sort_Artist" : "Wokoma, Inye", "Disp_Dimen" : "", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Two-channel digital video (color, sound): 16:13 min. ", "Support" : "", "Disp_Medium" : "Two-channel digital video (color, sound): 16:13 min. ", "Info_Page_Comm" : "", "Dedication" : "Museum Commission, 2016.022.05", "Copyright_Type" : "", "Disp_Obj_Type" : "Audio-Visual", "Creation_Place2" : "", "Department" : "Contemporary", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2016.022.05_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2016.022.05_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2016.022.05_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2016.022.05_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "7219", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3694, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3694", "Disp_Access_No" : "2016.022.04", "_AccNumSort1" : "", "Disp_Create_DT" : "2016", "_Disp_Start_Dat" : "2016", "_Disp_End_Date" : "2016", "Disp_Title" : "Our Blood Is In These Stones: Yirim Seck", "Alt_Title" : "", "Obj_Title" : "<i>Our Blood Is In These Stones: Yirim Seck</i>", "Series_Title" : "", "Disp_Maker_1" : "Inye Wokoma", "Sort_Artist" : "Wokoma, Inye", "Disp_Dimen" : "27 x 19 in. (68.58 x 48.26 cm)", "Disp_Height" : "27 in.", "Disp_Width" : "19 in.", "Dimen_Extent" : "Sheet", "Medium" : "Digital print", "Support" : "", "Disp_Medium" : "Digital print", "Info_Page_Comm" : "", "Dedication" : "Museum Commission, 2016.022.04", "Copyright_Type" : "", "Disp_Obj_Type" : "Photograph", "Creation_Place2" : "", "Department" : "Contemporary", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "3667", "Rel_Obj_Title" : "Our Blood Is In These Stones: Ama-Ibi Wokoma" },{ "Rel_Obj_ID" : "3692", "Rel_Obj_Title" : "Our Blood Is In These Stones: Daye Wokoma" },{ "Rel_Obj_ID" : "3693", "Rel_Obj_Title" : "Our Blood Is In These Stones: Versa Ruff" } ], "Curator" : "10/21/16 The periods in the text are inconsistent between the poems but we were told explicitly by Inye not to edit or change the poems in any manner. The poems as we have them now are exactly the way I want it [them] produced for display according to an email from Inye.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2016.022.04_Wokoma_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2016.022.04_Wokoma_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2016.022.04_Wokoma_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2016.022.04_Wokoma_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "11920", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3693, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3693", "Disp_Access_No" : "2016.022.03", "_AccNumSort1" : "", "Disp_Create_DT" : "2016", "_Disp_Start_Dat" : "2016", "_Disp_End_Date" : "2016", "Disp_Title" : "Our Blood Is In These Stones: Versa Ruff", "Alt_Title" : "", "Obj_Title" : "<i>Our Blood Is In These Stones: Versa Ruff</i>", "Series_Title" : "", "Disp_Maker_1" : "Inye Wokoma", "Sort_Artist" : "Wokoma, Inye", "Disp_Dimen" : "27 x 19 in. 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The poems as we have them now are exactly the way I want it [them] produced for display according to an email from Inye.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2016.022.03_Wokoma_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2016.022.03_Wokoma_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2016.022.03_Wokoma_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2016.022.03_Wokoma_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "11918", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3692, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3692", "Disp_Access_No" : "2016.022.02", "_AccNumSort1" : "", "Disp_Create_DT" : "2016", "_Disp_Start_Dat" : "2016", "_Disp_End_Date" : "2016", "Disp_Title" : "Our Blood Is In These Stones: Daye Wokoma", "Alt_Title" : "", "Obj_Title" : "<i>Our Blood Is In These Stones: Daye Wokoma</i>", "Series_Title" : "", "Disp_Maker_1" : "Inye Wokoma", "Sort_Artist" : "Wokoma, Inye", "Disp_Dimen" : "27 x 19 in. 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The poems as we have them now are exactly the way I want it [them] produced for display according to an email from Inye.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2016.022.02_Wokoma_Low-Res.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2016.022.02_Wokoma_Low-Res.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2016.022.02_Wokoma_Low-Res.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2016.022.02_Wokoma_Low-Res.jpg", "IsPrimary" : "1", "_SurrogateID" : "11916", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3667, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3667", "Disp_Access_No" : "2016.022.01", "_AccNumSort1" : "", "Disp_Create_DT" : "2016", "_Disp_Start_Dat" : "2016", "_Disp_End_Date" : "2016", "Disp_Title" : "Our Blood Is In These Stones: Ama-Ibi Wokoma", "Alt_Title" : "", "Obj_Title" : "<i>Our Blood Is In These Stones: Ama-Ibi Wokoma</i>", "Series_Title" : "", "Disp_Maker_1" : "Inye Wokoma", "Sort_Artist" : "Wokoma, Inye", "Disp_Dimen" : "27 x 19 in. 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