{ "objects" : [ { "embark_ID" : 4912, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4912", "Disp_Access_No" : "IL.2021.005.12", "_AccNumSort1" : "", "Disp_Create_DT" : "2021", "_Disp_Start_Dat" : "2021", "_Disp_End_Date" : "2021", "Disp_Title" : "patchy", "Alt_Title" : "", "Obj_Title" : "<i>patchy</i>", "Series_Title" : "", "Disp_Maker_1" : "Duane Linklater", "Sort_Artist" : "Linklater, Duane", "Disp_Dimen" : "8 1/2 x 6 1/2 in. (21.59 x 16.51 cm)", "Disp_Height" : "8 1/2 in.", "Disp_Width" : "6 1/2 in.", "Dimen_Extent" : "Frame", "Medium" : "Custom frame, digital print, still from reservation dog (2009)", "Support" : "", "Disp_Medium" : "Custom frame, digital print, still from reservation dog (2009)", "Info_Page_Comm" : "", "Dedication" : "Courtesy of Catriona Jeffries, Vancouver", "Copyright_Type" : "", "Disp_Obj_Type" : "", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/Linklater_patchy.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/Linklater_patchy.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/Linklater_patchy.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/Linklater_patchy.jpg", "IsPrimary" : "1", "_SurrogateID" : "15288", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4896, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4896", "Disp_Access_No" : "IL.2021.003", "_AccNumSort1" : "", "Disp_Create_DT" : "2017", "_Disp_Start_Dat" : "2017", "_Disp_End_Date" : "2017", "Disp_Title" : "there’s really only so much I can do and say", "Alt_Title" : "", "Obj_Title" : "<i>there’s really only so much I can do and say</i>", "Series_Title" : "", "Disp_Maker_1" : "Duane Linklater", "Sort_Artist" : "Linklater, Duane", "Disp_Dimen" : "38 x 28 in. (96.52 x 71.12 cm)", "Disp_Height" : "38 in.", "Disp_Width" : "28 in.", "Dimen_Extent" : "Frame", "Medium" : "Digital prints on Dibond", "Support" : "", "Disp_Medium" : "Digital prints on Dibond", "Info_Page_Comm" : "This work presents copies of four framed prints that Linklater discovered for sale in a secondhand shop in Canada. Without removing them from the frames, he scanned the prints—which depict Mesoamerican artworks—then framed the resulting reproductions. The artist was interested in what the images meant to the previous owner, who likely did not have any direct knowledge of or relation to Mesoamerican cultures such as the Maya, Zapotec, and Aztec. ", "Dedication" : "Eli and Edythe Broad Art Museum, Michigan State University, purchase, funded by the Emma Grace Holmes Endowment, 2019.12.1–4 ", "Copyright_Type" : "", "Disp_Obj_Type" : "", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/Linklater_there's really only so much I can do and say.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/Linklater_there's really only so much I can do and say.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/Linklater_there's really only so much I can do and say.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/Linklater_there's really only so much I can do and say.jpg", "IsPrimary" : "1", "_SurrogateID" : "15151", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4873, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4873", "Disp_Access_No" : "IL.2021.004", "_AccNumSort1" : "", "Disp_Create_DT" : "2014", "_Disp_Start_Dat" : "2014", "_Disp_End_Date" : "2014", "Disp_Title" : "The place I seek to go", "Alt_Title" : "", "Obj_Title" : "<i>The place I seek to go</i>", "Series_Title" : "", "Disp_Maker_1" : "Duane Linklater", "Sort_Artist" : "Linklater, Duane", "Disp_Dimen" : "66 x 132 x 20 in. (167.64 x 335.28 x 50.8 cm)", "Disp_Height" : "66 in.", "Disp_Width" : "132 in.", "Dimen_Extent" : "", "Medium" : "Coyote fur, garment rack, hanger, flat-screen TV, Apple Mac mini, digital video, cables", "Support" : "", "Disp_Medium" : "Coyote fur, garment rack, hanger, flat-screen TV, Apple Mac mini, digital video, cables", "Info_Page_Comm" : "Linklater’s use of pelts in sculptural works was inspired by visits to Fur Harvesters Auction in North Bay, Ontario, which is one of the last such auctions in North America and an international destination for trappers and commercial buyers. Although the furs circulate within this market context, the artist believes that they retain a residue of animal liveliness and spirit. Across the 2014 series of which this work is a part, Linklater’s poetic titles and juxtapositions suggest humanlike qualities and amplify a sense of kinship. Here, the artist pairs a lone coyote pelt with a video that depicts his hand moving through a series of positions he adopted during his youth to conceal a damaged finger.", "Dedication" : "Collection of Remai Modern, Saskatoon, Saskatchewan. Purchased with the support of the Canada Council for the Arts Acquisition Grants program, 2016", "Copyright_Type" : "", "Disp_Obj_Type" : "", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/Linklater_The place I seek to go_2014_Remai Modern_CJG SITE install 01.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/Linklater_The place I seek to go_2014_Remai Modern_CJG SITE install 01.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/Linklater_The place I seek to go_2014_Remai Modern_CJG SITE install 01.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/Linklater_The place I seek to go_2014_Remai Modern_CJG SITE install 01.jpg", "IsPrimary" : "1", "_SurrogateID" : "14083", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4882, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4882", "Disp_Access_No" : "IL.2021.005.10", "_AccNumSort1" : "", "Disp_Create_DT" : "2020", "_Disp_Start_Dat" : "2020", "_Disp_End_Date" : "2020", "Disp_Title" : "canoe by night", "Alt_Title" : "", "Obj_Title" : "<i>canoe by night</i>", "Series_Title" : "", "Disp_Maker_1" : "Duane Linklater", "Sort_Artist" : "Linklater, Duane", "Disp_Dimen" : "36 x 30 x 7 in. (91.44 x 76.2 x 17.78 cm)", "Disp_Height" : "36 in.", "Disp_Width" : "30 in.", "Dimen_Extent" : "", "Medium" : "Handmade canvas jacket with cochineal dye, silk-screen ink, nails; a.p. 1/1", "Support" : "", "Disp_Medium" : "Handmade canvas jacket with cochineal dye, silk-screen ink, nails; a.p. 1/1", "Info_Page_Comm" : "<i>canoe by night</i> is a replica of a winter work jacket that Linklater wore as a teenager and adorned with a rotating medley of hand-painted elements and band patches. This reproduction is made from canvas tinted pink with dye extracted from cochineal insects; it includes two silk-screened images in blue, one on the front and one on the back. Both images contain distorted film stills from <i>The Daughter of Dawn</i>, a 1920s silent film shot in Oklahoma with an all-Indigenous cast of more than three hundred Kiowa and Comanche. Despite its contrived story line centering on a love triangle involving the Kiowa chief’s daughter, Linklater sees the film as an extraordinary document, featuring the actors’ own tepees, horses, canoes, and beautifully embellished clothing. ", "Dedication" : "Courtesy of the artist", "Copyright_Type" : "", "Disp_Obj_Type" : "", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/Linklater_canoe by night 2020_CJG Topham 01.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/Linklater_canoe by night 2020_CJG Topham 01.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/Linklater_canoe by night 2020_CJG Topham 01.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/Linklater_canoe by night 2020_CJG Topham 01.jpg", "IsPrimary" : "1", "_SurrogateID" : "14091", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4876, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4876", "Disp_Access_No" : "IL.2021.005.03", "_AccNumSort1" : "", "Disp_Create_DT" : "2020", "_Disp_Start_Dat" : "2020", "_Disp_End_Date" : "2020", "Disp_Title" : "action at a distance", "Alt_Title" : "", "Obj_Title" : "<i>action at a distance</i>", "Series_Title" : "", "Disp_Maker_1" : "Duane Linklater", "Sort_Artist" : "Linklater, Duane", "Disp_Dimen" : "233 x 102 x 66 in. (591.82 x 259.08 x 167.64 cm)", "Disp_Height" : "233 in.", "Disp_Width" : "102 in.", "Dimen_Extent" : "", "Medium" : "Painted tepee poles, nylon rope, plants, ceramics, sandbags, twelve framed digital prints, framed mirror", "Support" : "", "Disp_Medium" : "Painted tepee poles, nylon rope, plants, ceramics, sandbags, twelve framed digital prints, framed mirror", "Info_Page_Comm" : "In <i>action at a distance</i>, twelve tepee poles serve as a backdrop for a cluster of houseplants and images in mismatched secondhand frames, blending references to some of Linklater’s artistic influences with memories of his childhood home. Included among the images are details from Spanish painter and printmaker Francisco de Goya’s <i>The Disasters of War</i> etchings (1810–20); stills from twentieth-century arthouse films by Chantal Akerman, Chris Marker, and Andy Warhol; and a portrait of Ojibwe artist and “grandfather of Indigenous Canadian contemporary art” Norval Morriseau. ", "Dedication" : "Courtesy of Catriona Jeffries, Vancouver", "Copyright_Type" : "", "Disp_Obj_Type" : "", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/Linklater_action at a distance.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/Linklater_action at a distance.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/Linklater_action at a distance.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/Linklater_action at a distance.jpg", "IsPrimary" : "1", "_SurrogateID" : "15140", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4875, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4875", "Disp_Access_No" : "IL.2021.005.01", "_AccNumSort1" : "", "Disp_Create_DT" : "2020", "_Disp_Start_Dat" : "2020", "_Disp_End_Date" : "2020", "Disp_Title" : "winter in america_no door_âkamenimok", "Alt_Title" : "", "Obj_Title" : "<i>winter in america_no door_âkamenimok</i>", "Series_Title" : "", "Disp_Maker_1" : "Duane Linklater", "Sort_Artist" : "Linklater, Duane", "Disp_Dimen" : "218 x 312 x 6 in. (553.72 x 792.48 x 15.24 cm)", "Disp_Height" : "218 in.", "Disp_Width" : "312 in.", "Dimen_Extent" : "", "Medium" : "Digital print on hand-dyed linen (black tea, sumac, charcoal, cup-and-saucer ochre, iron-red pigment, dandelion), nails", "Support" : "", "Disp_Medium" : "Digital print on hand-dyed linen (black tea, sumac, charcoal, cup-and-saucer ochre, iron-red pigment, dandelion), nails", "Info_Page_Comm" : "Each component of this installation is the same size and shape as a functional tepee cover, complete with stake loops and rectangular smoke flaps. In Cree tradition, tepee covers would typically be made of animal skins or sturdy cotton duck canvas, but Linklater uses hand-dyed linen as his support for digitally printed imagery and charcoal markings. The artist made the hand-drawn hashmarks on the work’s surface during the early stages of the COVID-19 pandemic lockdown and amid Black Lives Matter protests for racial justice, reflecting on the passing of time, the cyclical nature of social history, and the notion of the whole comprising the many. The title refers to the influential Black American jazz poet Gil Scott-Heron’s 1975 song “Winter in America,” which describes a dystopic American society of “last-ditch racists marching across the floor.”", "Dedication" : "Courtesy of Catriona Jeffries, Vancouver", "Copyright_Type" : "", "Disp_Obj_Type" : "", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/Linklater_winter in america.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/Linklater_winter in america.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/Linklater_winter in america.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/Linklater_winter in america.jpg", "IsPrimary" : "1", "_SurrogateID" : "15152", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4877, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4877", "Disp_Access_No" : "IL.2021.005.04", "_AccNumSort1" : "", "Disp_Create_DT" : "2020", "_Disp_Start_Dat" : "2020", "_Disp_End_Date" : "2020", "Disp_Title" : "primaryuse", "Alt_Title" : "", "Obj_Title" : "<i>primaryuse</i>", "Series_Title" : "", "Disp_Maker_1" : "Duane Linklater", "Sort_Artist" : "Linklater, Duane", "Disp_Dimen" : "69 x 72 x 72 in. (175.26 x 182.88 x 182.88 cm)", "Disp_Height" : "69 in.", "Disp_Width" : "72 in.", "Dimen_Extent" : "", "Medium" : "Spray-painted LCD screens, television stands, media players, stones, three Super 8mm films transferred to digital videos (color, sound), score by eagles with eyes closed", "Support" : "", "Disp_Medium" : "Spray-painted LCD screens, television stands, media players, stones, three Super 8mm films transferred to digital videos (color, sound), score by eagles with eyes closed", "Info_Page_Comm" : "", "Dedication" : "Courtesy of Catriona Jeffries, Vancouver", "Copyright_Type" : "", "Disp_Obj_Type" : "", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/Linklater_primaryuse 2020_CJG Topham 01.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/Linklater_primaryuse 2020_CJG Topham 01.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/Linklater_primaryuse 2020_CJG Topham 01.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/Linklater_primaryuse 2020_CJG Topham 01.jpg", "IsPrimary" : "1", "_SurrogateID" : "14087", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4906, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4906", "Disp_Access_No" : "IL.2021.010.00.SFMOMA GROUP RECORD", "_AccNumSort1" : "", "Disp_Create_DT" : "2019", "_Disp_Start_Dat" : "2019", "_Disp_End_Date" : "2019", "Disp_Title" : "can the circle be unbroken 1-5", "Alt_Title" : "", "Obj_Title" : "<i>can the circle be unbroken 1-5</i>", "Series_Title" : "", "Disp_Maker_1" : "Duane Linklater", "Sort_Artist" : "Linklater, Duane", "Disp_Dimen" : "Dimensions variable", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "", "Support" : "", "Disp_Medium" : "", "Info_Page_Comm" : "The title of this set of five tepee-cover paintings is borrowed from a song released by the Carter Family in 1935, which tells of the death and mourning of a beloved mother from the perspective of one of her children. Linklater created the installation following the passing of his mom, Pauline Linklater, but the work also speaks to loss on the broader scale of collective history. The floral designs printed on the joined linen components are sampled from the paintings of Dutch artist Ambrosius Bosschaert the elder (1573–1621), whose work inspired the patterning of fabrics that the English traded with Cree peoples beginning in the seventeenth century. Over time, these kinds of European floral patterns largely supplanted the Cree peoples’ customary geometric designs in beading and other crafts, effectively breaking an aesthetic ancestral lineage. Linklater dyed and smudged the printed linen with plant matter and earth minerals native to the region around his home in northeastern Ontario.", "Dedication" : "Commissioned by the San Francisco Museum of Modern Art, courtesy the artist and Catriona Jeffries, Vancouver, 2020.23-.27", "Copyright_Type" : "", "Disp_Obj_Type" : "", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Children" : [ { "Rel_Obj_ID" : "4891", "Rel_Obj_Title" : "can the circle be unbroken 1" },{ "Rel_Obj_ID" : "4892", "Rel_Obj_Title" : "can the circle be unbroken 2" },{ "Rel_Obj_ID" : "4893", "Rel_Obj_Title" : "can the circle be unbroken 3" },{ "Rel_Obj_ID" : "4894", "Rel_Obj_Title" : "can the circle be unbroken 4" },{ "Rel_Obj_ID" : "4895", "Rel_Obj_Title" : "can the circle be unbroken 5" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/Linklater_Can the Circle 1-5.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/Linklater_Can the Circle 1-5.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/Linklater_Can the Circle 1-5.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/Linklater_Can the Circle 1-5.jpg", "IsPrimary" : "1", "_SurrogateID" : "15131", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4913, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4913", "Disp_Access_No" : "IL.2021.005.13", "_AccNumSort1" : "", "Disp_Create_DT" : "2021", "_Disp_Start_Dat" : "2021", "_Disp_End_Date" : "2021", "Disp_Title" : "for mymother, return", "Alt_Title" : "", "Obj_Title" : "<i>for mymother, return</i>", "Series_Title" : "", "Disp_Maker_1" : "Duane Linklater", "Sort_Artist" : "Linklater, Duane", "Disp_Dimen" : "10 1/2 x 8 1/2 in. 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Mississippi Band of Choctaw Indians</i>. In her closing remarks, Justice Sonia Sotomayor asked the rhetorical question “What then remains of the sovereignty of the Indians?” Linklater was drawn to the tension this poetic phrase highlighted in the detached but highly consequential judicial context, where the abstraction of language often obscures its real effects on people’s lives. Inserted into a permanent gallery wall, the installation gestures to a similar friction at play within the museum, which is both an ideological and a material construct linked to colonialism. Although they are supposed to be neutral containers for objects, museums have historically privileged some perspectives and forms of expression over others and thereby supported belief in white superiority. Linklater symbolically dismantles these structures, while also illuminating the fabricated inner workings of the institution. This is especially significant, he says, “when the galleries are located on contested lands, and the actual material that they are made of is extracted from the land.” At the end of the exhibition, drywall is applied over the red-painted studs, which live on invisibly within the museum. 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He used the opportunity to focus attention on the ways Indigenous “artifacts” have been treated differently than Western artworks in museums. The low-fidelity reproductions he created allegorize the abstracting effects of cultural generalizations and display practices on tribal objects. Reviewing UMFA’s online collection database, the artist identified Indigenous works that were created in the not-so-distant past, between 1875 and 1978, but lacked known (or credited) authorship. He then created a purposely faulty copy of each. He photographed images of the Navajo textiles from his computer screen and printed his digital snapshots at the scale of the actual objects. Compressed five times in the translation from physical object to printed photograph, the resulting images are pixelated and distorted. Linklater had the sculptural objects scanned and printed at the University of Utah’s then-fledgling 3D printing lab rather than a more sophisticated facility, resulting in visible mistakes and the loss of the objects’ characteristic color and surface detail. 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