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231:"I wanted to create this thing that was spiritually intangible and could only be seen as something if you were here right now. And nobody can take it, or even think about it or write about it or read about it later, youâve kinda gotta be in it. It was just so magical I was like âthatâs enough. It doesnât have to go anywhere from here." - Skeena Reece, 2012
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referencing the Plains cultures.â Reece uses such regalia to make a political statement and to overturn
Indigenous gender roles, for example by wearing a headdress that is usually reserved for men. Images of grenades, arms, and mythological figures cover her clothing to represent her as a âfe/male
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survivors. The film is meant to be an act of reconnection between mother and daughter, child and elder, âwanting to create a space in which touch, intimacy, and connection were animated, as well as a desire to perform a nurturing and loving act of bathing an elder inspired Reece to create this
284:'s ships on a large board as Reece speaks about sexual fetishes, fear of government and the inaccurate portrayal of Indians on television.â Reece saw this âas a metaphor for white people taking the blood of her people and painting their own history of them.â One song in her album
311:. In the video, Reece washes Semchuk with a soap and cloth. Semchuk begins to tear up as Reece says âItâs okay, itâs okay.â The film is influenced by her distant relationship with her parents, who were both
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peoples, especially women. Often these works unsettle and challenge their audiences. She also closely aligns herself and her artistic practice with the figure of the âsacred clownâ, a
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bags meant to carry babies. They are meant to symbolize the care that families and communities give to new members and they are also a reminder that we always need care in our lives.
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as a curatorial practices intern, founder of the Native Youth
Artists Collective, and was Director of the Indigenous Media Arts Group from 2005 to 2007.
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warriorâ and as a mythological figure, like Raven, coming to help fight against colonial violence. In 2010, she also performed this piece at the 17th
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Outstanding
Canadian Short Film, and the Leo Awards for Best Actress and Best Editing. Recently, she has also made adult-sized moss bags, similar to
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259:(2010), she âwears a corset, skirt and blanket designed with reference to traditional Northwest Coast Aboriginal Art and a feathered
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Dowell, Kristin (Spring 2017). "Residential
Schools and "Reconciliation" in the Media Art of Skeena Reece and Lisa Jackson".
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performance.â She also starred in a prominent role in the short film "Savage" about residential schools, along with
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On these issues, her work also deals with the act of caring and reconciliation. Such themes can be seen in her work
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276:, she dressed up as a nurse and asked the audience, "Does anyone want to share any feelings you have about being a
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Indian figure who teaches lessons in uncouth ways. As well, she bases her work on trickster figures such as
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for media arts. She has been working in the arts since 1996 and currently is based out of
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2012 â British
Columbia Creative Achievement Foundation, Award for First Nations Art
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307:. The fourteen minute video consists of Reece bathing Ukrainian-Canadian artist
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660:"Skeena Reece's Regalia in Her Performance "Raven: On the Colonial Fleet""
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Reece is known for making works that deal with issues surrounding settler
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453:, National Museum of the American Indian, Washington DC, United States
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Urban Shaman
Contemporary Aboriginal Art, Winnipeg, Manitoba, Canada
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and internationally renowned carver Victor Reece. She studied at
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artist whose multi-disciplinary practice includes such genres as
303:(2013), a video work made specifically for the 2013 exhibition,
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218:. She has also worked in administrative capacities such as the
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2017 â The
Hnatyshyn Foundation, REVEAL: Indigenous Arts Award
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The Beauty of
Distance: Songs of Survival in a Precarious Age
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in Sydney, Australia. As well, in a 2008 performance for the
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Tyner, Jana, Keith
Wallace, and Scott Watson, ed. (2013).
414:, Modern Fuel Artist-Run Centre, Kingston, Ontario, Canada
768:"REVEAL - Indigenous Art Awards Laureates Skeena Reece"
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Witnesses: Art and Canadaâs Indian Residential Schools
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Witnesses: Art and Canadaâs Indian Residential Schools
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was created to honor carvers like her father and the
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642:Beat Nation: Art, Hip-hop and Aboriginal Culture
394:BEAT NATION: Art, Hip Hop and Aboriginal Culture
296:in Seattle that was shot by a police officer.
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792:"2012 BC First Nations Art Awards Announced"
324:The video won several awards including 2010
272:based on an episode of the television show,
640:Ritter, Kathleen and Tania Willard (2012).
407:, The Power Plant, Toronto, Ontario, Canada
208:Freda Diesing School of Northwest Coast Art
154:Performance art, songwriting, and video art
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545:CS1 maint: multiple names: authors list (
109:Learn how and when to remove this message
16:Canadian First Nations artist (born 1974)
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212:Emily Carr University of Art and Design
620:Studies in American Indian Literatures
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376:The Sacred Clown and Other Strangers,
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644:. Vancouver: Vancouver Art Gallery.
387:Morris and Helen Belkin Art Gallery
355:Morris and Helen Belkin Art Gallery
320:, Doug Blamey, and Jennifer Jackson
868:Canadian women performance artists
823:"John Carver" song by Skeena Reece
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843:First Nations performance artists
371:, Oboro Gallery, Montreal, Canada
332:for Best Multicultural Film, the
198:Skeena Reece was born in 1974 to
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564:"10 Artists Who Are Taking Care"
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146:Cree, Tsimshian, Gitxsan, MĂ©tis
681:Beckman, Rachel (2008-11-06).
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47:secondary or tertiary sources
863:Canadian performance artists
683:"Needled by Performance Art"
344:Exhibitions and performances
888:First Nations women artists
858:Canadian conceptual artists
313:Canadian Residential School
257:Raven on the Colonial Fleet
137:Tsimshian Territory, Canada
134:1974 (age 49–50)
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451:Itâs not TV, Itâs Indians!
444:UBC Museum of Anthropology
432:, Toronto, Ontario, Canada
412:Acting Out, Claiming Space
400:, British Columbia, Canada
744:"Skeena Reece Surrounded"
421:, 17th Biennale of Sydney
848:First Nations filmmakers
818:"Savage" by Lisa Jackson
772:The Hnatyshyn Foundation
351:Surrounded: Skeena Reece
239:and its consequences on
720:"Skeena Reece - RPM.fm"
466:2014 â VIVA Award, 2014
328:for Best Short Film, a
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34:relies excessively on
658:Sözen, Gizem (2010).
426:Please Do Not Disturb
398:Vancouver Art Gallery
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362:Sweetgrass and Honey
286:Sweetgrass and Honey
688:The Washington Post
538:has generic name (
330:Golden Sheaf Award
200:Red Power movement
437:Vampyre Love Ball
226:Artistic practice
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163:(born 1974) is a
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873:1974 births
405:Like a Boss
326:Genie award
237:colonialism
143:Nationality
832:Categories
801:2019-06-24
777:2019-06-24
753:2019-06-24
729:2018-03-12
702:2018-03-11
597:2018-03-10
573:2018-03-10
504:2018-03-10
474:References
241:Indigenous
204:Cleo Reece
194:Background
69:newspapers
36:references
697:0190-8286
626:(1): 123.
528:cite book
334:ReelWorld
278:colonizer
261:headdress
202:activist
190:descent.
180:Tsimshian
99:June 2019
301:Touch Me
282:Columbus
266:Biennale
165:Canadian
449:2008 â
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360:2018 â
349:2019 â
338:swaddle
292:carver
184:Gitksan
83:scholar
724:rpm.fm
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458:Awards
274:Moesha
249:Coyote
186:, and
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663:(PDF)
253:Raven
188:MĂ©tis
90:JSTOR
76:books
693:ISSN
547:link
540:help
369:Moss
251:and
245:Hopi
176:Cree
131:Born
62:news
38:to
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