185:-style floral beadwork to comment on "cultural endurance undeterred by centuries of colonial oppression and rapid social change." In all of his creations, the artist emphasizes the importance of asserting one’s identity and culture and taking ownership of Indigenous imagery and representation. Ace's work explores the relationship between historical techniques and traditions and contemporary materials and subject matter. By referencing the history of Anishinaabe textile art in works that use contemporary mass-produced materials, among other themes Ace investigates the dialogue between Indigenous and European cultures, much like fellow artists Rosalie Favell and Jeff Thomas do. One example of this is the history of the use of glass beads from European traders in Indigenous beadwork that Ace references in his textile pieces. Some of Ace's work explores the particular aesthetic of technology and popular culture in Indigenous art, something that fellow artist Rosalie Favell also incorporates in her work.
122:, Manitoulin Island. Ace's surname is pronounced "Es" and translates to the Ojibwe word for "clam," also relating to the word for "small clam" spelled "esiins" or "esens." Ace's heritage links him to Chief Assance (alternatively spelled Aisance, Aissance, and Essens) of the Nigig (Otter) clan, the otter being an important messenger figure in Anishinaabe history. Ace was first introduced to techniques that he would later employ in his artistic practice at the age of seven or eight when he helped his great-aunt Annie Owl-McGregor to make Anishinaabe splint-ash baskets. He also found inspiration from the beadwork, quillwork, and basketry made by his grandmother Mary McGregor-Ace.
157:. He also led a workshop for children from an Ojibwe immersion school in the fall of 2016 where the artwork produced by the children was later displayed at the Ojibwe Cultural Foundation. Ace is participating in the Nigig Visiting Artist Residency put on by the Indigenous Visual Culture Program at
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Ace's work includes mixed media-paintings, and mixed media textile and sculptural work that combines traditional
Anishinaabe textiles and beadwork with found electrical components. Ace has a strong interest in combining Indigenous and global technologies, aesthetics, and techniques in his artwork.
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and curated by Jeff Thomas. The exhibition involved six contemporary
Indigenous photographers addressing representations of Indigenous culture through their engagement with and display of their work alongside historical photographs from the museum, including portraiture. The artists that Ace
463:, Ron Noganosh, and invited "special agents." The group provides an alternative and experimental space for Ottawa-based Indigenous artists at different stages in their careers, and supports them by providing opportunities for self-curation, public engagement, and critique.
452:). Connecting Indigenous curators and cultural producers across Canada, the ACC has played an important role in gathering a strong Indigenous arts community and supporting curatorial and writing projects that share the many voices that make up that community.
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exhibition catalogue. He also won the Deputy
Minister's Outstanding Achievement Award with his team in 1999 for the artist-in-residence and exhibition program that they launched at Aboriginal Affairs and Northern Development Canada.
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Canada. Dept. of Indian
Affairs and Northern Development.; Canada. Dept. of Foreign Affairs and International Trade.; Centre culturel canadien (Paris, France); Waikato Museum of Art and History, 1997.
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361:(Hull, 1998). He served as Chief Curator for the Aboriginal Art Centre, Aboriginal Affairs and Northern Development Canada from 1994 to 2000. Ace organized numerous exhibitions, including
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but switched to graphic arts. Ace's background knowledge in electricity did however later play a role in his artwork in his mixed media works that include electrical components.
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in Paris referencing the nineteenth-century dance performances of Chief
Maungwadaus in Britain and Continental Europe. Ace's performance and essay was part of Robert Houle's
1219:
1503:
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McKee, Jesse (Spring 2010). "Jesse McKee in
Conversation with the Aboriginal Curatorial Collective's Steve Loft, Candice Hopkins and Leanne L'Hirondelle".
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Transitions : contemporary
Canadian Indian and Inuit art = Transitions : l'art contemporain des Indiens et des Inuits du Canada.
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884:
Payne, Carol (2002). "Aboriginal
Interventions into the Photographic Archives: A Dialogue between Carol Payne and Jeffrey Thomas".
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548:"Nigig AIR Welcome Lunch and Artist Talk: Barry Ace @ Indigenous Visual Culture at OCAD University, Toronto [10 January]"
449:
1137:"Special agents join 007 for 150 exhibit It's Complicated; Hull industrial space displays Endless Landscapes | Ottawa Magazine"
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Barry Ace also co-founded the OO7 (Ottawa
Ontario Seven) Collective, a group of Indigenous artists that includes Ariel Smith,
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Barry Ace's artwork has been exhibited at galleries such as the
National Gallery of Canada, including Abadakone in 2019, the
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1349:"Aboriginal Curatorial Collective: About - Aboriginal Curatorial Collective / Collectif des commissaires autochtones"
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431:' Curatorial Writing Award in 2012 for his essay "A Reparative Act," which was written for Robert Houle's
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With Ryan Rice, Ron Noganosh, and Ahasiw Maskegon-Iskew in 2006, Barry Ace co-founded the non-profit
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581:"Barry Ace: The Five Great Lakes at the Art Gallery of Sudbury - southsidestory.casouthsidestory.ca"
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McIntosh, David, Nelcya Delanoë, Barry Ace, Robert Houle, Carla Garnet, and Celeste Scopelites.
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Halkes, Petra (2000). "Emergence from the Shadow: First Peoples' Photographic Perspectives".
740:"(Re)Mapping Place | Sat, May 9, 2015, 1:00 pm @ Ottawa Art Gallery (2 Daly Avenue, Ottawa)"
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Art Bank, Woodland Cultural Centre, the Royal Ontario Museum, the Ottawa Art Gallery,
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In 2015, Barry Ace won the K.M. Hunter Artist Award for visual arts. Ace won the
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sculptor, installation artist, photographer, multimedia artist, and curator from
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Basciano, Rebecca; Burant, Jim; Gewurtz, Michelle; Sinclair, Catherine (2017).
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Basciano, Rebecca; Burant, Jim; Gewurtz, Michelle; Catherine, Sinclair (2017).
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In/Digitized – Indigenous Culture in a Digital World (007 with Special Agent
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330:, and the Canadian Museum of History. Ace's work has been collected by the
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Aboriginal Curatorial Collective / Collectif des commissaires autochtones
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860:"Zhigwe/aim week 8: Barry Ace, Nigik Makizinan - Otter Moccasins (2014)"
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research project which opened at the Canadian Cultural Centre in Paris.
931:Àdisòkàmagan/Nous connaître un peu nous-mêmes/We'll all become stories
715:"Barry Ace - Kinsman Robinson Galleries, 108 Cumberland St, Yorkville"
519:Àdisòkàmagan/Nous connaître un peu nous-mêmes/We'll all become stories
771:"Visual artist Barry Ace joins OCAD University for Nigig residenc..."
239:
Some notable exhibitions that Ace has been included in have been the
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1164:"raise a flag: works from the Indigenous Art Collection 2000 - 2015"
954:
Frimer, Denise (2011). "Paris Ojibwa: Interview with Robert Houle".
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raise a flag: works from the Indigenous Art Collection (2000 - 2015)
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Emergence from the Shadows: First Peoples Photographic Perspectives
95:
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1087:"Every. Now. Then: Reframing Nationhood | Art Gallery of Ontario"
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Black, Joan (September 1999). "Photographers interpret history".
338:, the National Gallery of Canada, Nordamerika Native Museum, the
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C: International Contemporary Art, Art & Architecture Source
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Barry Ace was born in Sudbury, Ontario. He is a band member of
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where participants made a collective mixed media map of the
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at Museu Nogueira da Silva, Universidade do Minho (2016),
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2016 Nayaano-nibiimaang Gichigamiin: The Five Great Lakes
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in Canadian Studies. In 2015 he taught a workshop at the
686:. Saskatoon: Wanuskewin Heritage Centre. pp. 1–2.
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Transitions: Contemporary Canadian Indian and Inuit Art
195:, a performance of four solo dances in the traditional
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Peterborough, Ont.: Art Gallery of Peterborough, 2011.
796:"Textiles Get Tactical at Gallery 101 – Canadian Art"
16:
Canadian First Nations artist and curator (born 1958)
614:"Barry Ace exhibit on now until September 15 at OCF"
130:
Barry Ace initially studied to be an electrician at
169:Much of Barry Ace's work uses found materials like
63:
55:
44:
30:
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655:"Native Fashion Now: Mixed Media Artist Barry Ace"
336:Indigenous Affairs and Northern Development Canada
1112:"Carleton University Art Gallery: Always Vessels"
349:Ace has curated several shows himself, including
1439:Ottawa Art & Artists: An Illustrated History
832:Ottawa Art & Artists: An Illustrated History
351:A Celebration: The Art of Canada's First Peoples
249:Native Fashion Now: North American Indian Style
490:"Emergence from the Shadow: Barry Douglas Ace"
8:
1193:imagineNATIVE Film & Media Arts Festival
905:"Barry Ace Unites Traditions and Technology"
1034:"By Day By Night: Artist Projects – Apt613"
141:in the Indigenous Studies Program, and at
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995:Payne, Carol (May 2000). "Counterpoint".
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892:(2): 121 – via Scholar's Portal.
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684:Mnemonic (Re)Manifestations: Barry Ace
399:2014 Nigik Makizinan - Otter Moccasins
365:(1997), which toured internationally.
1443:Toronto: Art Canada Institute, 2022.
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521:. Vancouver: Figure 1. p. 286.
429:Ontario Association of Art Galleries
324:Art Gallery of Southwestern Manitoba
269:Every.Now.Then: Reframing Nationhood
1504:First Nations installation artists
1282:. 10 November 2016. Archived from
981:(5): 4B–5B – via Gale Group.
353:(Rideau Hall, Ottawa, 1996-1997),
14:
1220:"Upcoming | Winnipeg Art Gallery"
903:Gessell, Paul (27 January 2017).
835:. Toronto: Art Canada Institute.
794:Falvey, Emily (17 October 2014).
416:2017 Bandolier for Alain Brosseau
1306:"K.M. Hunter Artist Awards-2015"
450:Aboriginal Curatorial Collective
446:Indigenous Curatorial Collective
1429:Ace, Barry, and July Papatsie.
1310:www.ontarioartsfoundation.on.ca
864:Integrated Studies in Education
459:, Frank Shebageget, Leo Yerxa,
1534:M'Chigeeng First Nation people
1455:Robert Houle's Paris / Ojibwa.
291:at Central Art Garage (2017),
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404:2016 Bandolier for M'Chigeeng
59:multimedia artist and curator
1475:, Kinsman Robinson Galleries
1254:www.artgalleryofhamilton.com
326:, Winnipeg Art Gallery, the
322:, Karsh-Masson Gallery, the
1529:People from Greater Sudbury
1514:First Nations photographers
1499:Canadian multimedia artists
1374:"Barry Ace | MIXED BAG MAG"
102:people, and belongs to the
34:1958 (age 65–66)
1550:
1337:: 15 – via Proquest.
1022:: 93 – via Proquest.
1003:(6): 16 – via EBSCO.
261:National Gallery of Canada
217:Canadian Museum of History
211:Barry Ace was featured in
1468:Artist's official website
1402:"OO7 - It's Complicated"
1062:"2017 Canadian Biennial"
440:Organizations and groups
137:Ace has lectured at the
1509:First Nations sculptors
1280:Canada Council Art Bank
962:: 25 – via EBSCO.
719:www.kinsmanrobinson.com
682:Corbiere, Alan (2017).
247:at SAW Gallery (2013),
188:In 2010, Ace performed
161:in the winter of 2018.
120:M'Chigeeng First Nation
104:M'Chigeeng First Nation
49:M'Chigeeng First Nation
1276:"For King and Country"
1091:Art Gallery of Ontario
273:Art Gallery of Ontario
1494:Canadian art curators
381:2010 A Reparative Act
344:Global Affairs Canada
313:MacKenzie Art Gallery
301:Insurgence/Resurgence
179:light-emitting diodes
143:Laurentian University
139:University of Sudbury
829:Burant, Jim (2022).
744:National Arts Centre
618:Manitoulin Expositor
552:toronto.carpediem.cd
387:2013 Healing Dance 1
328:Royal Ontario Museum
305:Winnipeg Art Gallery
283:Art Gallery (2017),
253:Peabody Essex Museum
220:exhibited with were
207:Selected exhibitions
281:Carleton University
222:Mary Anne Barkhouse
215:(1996) held at the
147:Carleton University
1406:Central Art Garage
1162:University, OCAD.
769:University, OCAD.
357:(Hull, 1996), and
320:Ottawa Art Gallery
181:, and traditional
151:Ottawa Art Gallery
1449:978-1-4871-0289-0
940:978-1-77327-031-9
842:978-1-4871-0289-0
693:978-1-7750963-0-6
585:southsidestory.ca
528:978-1-77327-031-9
393:2013 Urban Bustle
257:Canadian Biennial
236:and Greg Staats.
82:(born 1958) is a
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