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Wendy Red Star, Apsáalooke Feminist #2, archival pigment print, 2016.

Gallery 44 is pleased to announce to two upcoming talks with renowned International artists, Wendy Red Star and Gelare Khoshgozaran, as part of our ongoing public programming series, Field of Vision.

Wendy Red Star
Forging Pathways for Future Apsáalooke Feminists

Thursday, March 22, 7 – 9PM
Gallery 44 Centre for Contemporary Photography
401 Richmond Street West, Suite 120

As a mother / daughter artist collaborative duo working in the realm of Native history, identity politics, cultural subversion, and reclamation, Wendy Red Star and her ten-year-old daughter Beatrice Red Star Fletcher probe the colonial thought bubble with intergenerational collaboration and institutional critique. Working with museums like the Denver Art Museum, Portland Art Museum, and Seattle Art Museum Beatrice and Wendy engage the public to decolonize thinking around Native American art and collections through performative tours, interactive activities, and interventionist installations. Intergenerational collaborative work is integral and a means to creating a forum for the expression of Native women’s voices in contemporary art.

Wendy Red Star will be in conversation with Toronto-based curator and artist Wanda Nanibush.

Biography
Artist Wendy Red Star works across disciplines to explore the intersections of Native American ideologies and colonialist structures, both historically and in contemporary society. Raised on the Apsáalooke (Crow) reservation in Montana, Red Star’s work is informed both by her cultural heritage and her engagement with many forms of creative expression, including photography, sculpture, video, fiber arts, and performance. An avid researcher of archives and historical narratives, Red Star seeks to incorporate and recast her research, offering new and unexpected perspectives in work that is at once inquisitive, witty and unsettling. Intergenerational collaborative work is integral to her practice, along with creating a forum for the expression of Native women’s voices in contemporary art.

Red Star has exhibited in the United States and abroad at venues including the Metropolitan Museum of Art, Fondation Cartier pour l’ Art Contemporain, Domaine de Kerguéhennec, Portland Art Museum, Hood Art Museum, St. Louis Art Museum, and the Minneapolis Institute of Art, among others. She served a visiting lecturer at institutions including Yale University, the Figge Art Museum, the Banff Centre, National Gallery of Victoria in Melbourne, Dartmouth College, CalArts, Flagler College, Fairhaven College, and I.D.E.A. Space in Colorado Springs. In 2015, Red Star was awarded an Emerging Artist Grant from the Joan Mitchell Foundation. In 2016, she participated in Contemporary Native Photographers and the Edward Curtis Legacy at the Portland Art Museum, and recently mounted a solo exhibition as part of the museum’s APEX series. Red Star holds a BFA from Montana State University, Bozeman, and an MFA in sculpture from University of California, Los Angeles. She lives and works in Portland, OR.

Wanda Nanibush is the inaugural Assistant Curator, Canadian and Indigenous Art at the Art Gallery of Ontario. Nanibush is an Anishinaabe-kwe curator, image and word warrior, and community organizer from Beausoleil First Nation, located in Southern Ontario. Nanibush has a Master’s degree in visual studies from the University of Toronto. Over the past two decades, Nanibush has served in a wide range of capacities from programmer and festival coordinator to Aboriginal arts officer and executive director. During that time, she worked with organizations such as ImagineNATIVE, LIFT, Optic Nerve Film Festival, Reframe Film Festival, the Ontario Arts Council, Aboriginal Curatorial Collective, and the Association for Native Development in the Performing & Visual Arts (ANDPVA). Her curatorial credits include the exhibitions Rita Letendre: Fire & Light (AGO), Toronto: Tributes + Tributaries, 1971-1989 (AGO), Sovereign Acts II (Leonard & Bina Ellen Art Gallery), and the award winning KWE: The work of Rebecca Belmore (Justina M. Barnicke Gallery) amoung many others. Nanibush has published widely on the subject of Indigenous art as well as women’s issues, and is currently at work on her first book, titled Violence No More: The Rise of Indigenous Women. She has taught graduate courses at the University of Toronto and currently at OCADU.


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Basra, Iraq (screenshot from Google Maps), courtesy of Gelare Khoshgozaran.

Gelare Khoshgozaran
Terrorientalist Landscapes

Wednesday, April 18, 7 – 9PM
Gallery 44 Centre for Contemporary Photography
401 Richmond Street West, Suite 120

Terrorientalist Landscapes conjures a history of orientalism in the California Mojave desert across the decades, and through war and colonialism—from the introduction of date palm in 1902, and the Indio Palm Date Festivals of the 1940s-1980s, to the contemporary simulacrum “Middle Eastern” towns of U.S. military training centers in the War on Terror. The project ponders the role of fiction and speculation in the construct of the “Middle East,” one that is founded on the violent act of conflating languages, landscapes, cultures and geographical territories. The presentation begins in the desert where the roots of beheaded date palms are soaked in seeping crude oil, 7,777 miles away from its simulation.

Biography
(B. 1986, Tehran) Gelare Khoshgozaran is an interdisciplinary artist and writer working across video, installation performance and writing. She received her MFA from the University of Southern California in 2009 and her BFA from the University of Arts, Tehran. Her work has been exhibited in solo and group exhibitions at the Queens Museum of Art, Museo Ex-Teresa Arte Actual, Malmö Konsthall, LACE, The LA Municipal Art Gallery, Southern Exposure, Human Resources, Interstate Projects, The AC Institute, and Thomas Erben Gallery, among others. She was the recipient of the 2017 Art Matters Foundation fellowship, the 2016 Rema Hort Mann Foundation Award for Emerging Artists, the 2015 Creative Capital | Andy Warhol Foundation Arts Writers Grant and the 2015 California Community Foundation Fellowship for Visual Artists. Living and working in Los Angeles, she is the co-founding editor of contemptorary.org.


Field of Vision is Gallery 44’s thematic public programming series exploring the larger conversations surrounding photography and contemporary image culture. Taking a variety of forms – performance lectures, artist talks, readings, dinner parties, film screenings – each programming year explores a theme and its relevance to contemporary image making practices and dialogues. This year's theme, Representation and Visibility, looks at how photography, as a mode of self-address, can act as a marker of perseverance and a tool to confront structural inequalities.

Presented in partnership with the Consulate General of the United States, Toronto, Canada.

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Gallery 44 is open Tuesday to Saturday 11AM to 5PM | Free admission
Gallery 44 Centre for Contemporary Photography is a charitable, non-profit, artist-run centre committed to supporting multi-faceted approaches to photography and lens-based media. Founded in 1979 to establish a supportive environment for the development of artistic practice, Gallery 44’s mandate is to provide a context for meaningful reflection and dialogue on contemporary photography.

Gallery 44 is committed to programs that reflect the continuously changing definition of photography by presenting a wide range of practices that engage timely and critical explorations of the medium. Through exhibitions, public engagement, education programs and production facilities our objective is to explore the artistic, cultural, historic, social and political implications of the image in our ever-expanding visual world.

Gallery 44 Centre for Contemporary Photography
401 Richmond Street West, Suite 120
Toronto, Ontario M5V 3A8
www.gallery44.org
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Gallery 44 is fully accessible.

Alana Traficante
Head of Communications and Development
alana@gallery44.org
416.979.3941 ext.4

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