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OverviewCorePublic ArtOpen CallArtists
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  • Core
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  • Open Call
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Archives 2014 Public Art

Indian Candy

May 1 – 31, 2014
  • Billboards along Dundas St W and Across Canada
Installation view of Dana Claxton Indian Candy, Montreal, Canada
Dana Claxton, Maria Tallchief in Turquoise
Dana Claxton, Tatanka (Buffalo)
Installation view of Dana Claxton Indian Candy, Winnipeg, Canada
Installation view of Dana Claxton Indian Candy, Vancouver, Canada
Dana Claxton, Geronimo in Pink
Installation view of Dana Claxton Indian Candy, Toronto, Canada
Installation view of Dana Claxton Indian Candy, Toronto, Canada
Installation view of Dana Claxton Indian Candy, Saskatoon, Canada

Dana Claxton, of Lakota (Sioux) descent, investigates the historical and continuing impact of colonialism on Aboriginal cultures in North America. Through her work, she questions notions of truth and identity by deconstructing the myths and exposing the realities and experiences of First Nations peoples. Claxton interrogates the presentation of Indigenous iconography through the digital archive in Indian Candy.

Working from found images of the “Wild West” sourced online, the artist focuses on those connected to Sitting Bull, the iconic tribal leader who led a resistance against government policies in the United States. As a descendant of Sitting Bull’s band who came to Canada, Claxton simultaneously mines her own personal family history and the legacy of racism. Her diverse range of images present aspects of Indigeneity in a new light; from the buffalo, which represents spirituality for Lakota people and was a main source of sustenance until their near annihilation, to signed souvenir cards from Buffalo Bill’s Wild West show. As a whole, Indian Candy uncovers truths and performs as a provisional archive of Aboriginal imagery seen through the lens of colonialism.

Claxton has radically altered these source materials—sometimes by adding vibrant text or shifting the colouration to highly saturated hues of pink, turquoise, and purple—enlarging the images to a scale that exaggerates the pixelization. Such transformations serve to draw these historic images into the present, allowing them to be examined with fresh eyes. Realized as a series of billboards in Toronto and six cities across Canada, the authenticity of these lush and seductive images gives way to alignments with advertising and commodification, highlighting how Indigenous iconography has been consumed by popular culture.

Supported by Pattison Outdoor Advertising and Nikon Canada. 
A part of PATTISON's ongoing Art in Transit programme
 

Toronto Locations

Dundas St W and Ossington Ave, Northwest corner
Dundas St W and Rusholme Rd, North side
Lansdown Ave at Dundas St W, Northeast corner

Across Canada Locations

Calgary
9 Ave SE at 10, 11 & 13 St SE
4 images, 10 x 20 ft

Dartmouth
North St at Alderney Dr
2 images, 10 x 20 ft

Montreal
Rue Frontenac at Rue Marie-Anne E & Rue Rachel E
3 images, 10 x 20 ft

Saskatoon
Pacific Ave at 22nd St E & 23rd St E
3 images, 10 x 20 ft

Vancouver
Howe St at Drake St & Nelson St
3 images, 10 x 20 ft

Winnipeg
Isabel St at William Ave
2 images, 10 x 20 ft
2 images, 12 x 16 ft

Curated by Bonnie Rubenstein

Hereros

Museum of Contemporary Canadian Art, courtyard
Archives 2014 Public Art

Indian Candy

Billboards along Dundas St W and Across Canada
Archives 2014 Public Art

Rebecca Belmore X

Billboards at Spadina Ave and Front St W, NE corner
Archives 2014 Public Art

Retail Compositions

Brookfield Place
Archives 2014 Public Art

Contacting Toronto 2014: Drowning World

Queen’s Park Subway Station
Archives 2014 Public Art

Gulu Real Art Studio, Passport

Toronto Pearson International Airport, Terminal 1
Archives 2014 Public Art
OverviewCorePublic ArtOpen CallArtists
  • Overview
  • Core
  • Public Art
  • Open Call
  • Artists
Archives 2014 Public Art

Indian Candy

May 1 – 31, 2014
  • Billboards along Dundas St W and Across Canada
Installation view of Dana Claxton Indian Candy, Montreal, Canada
Dana Claxton, Maria Tallchief in Turquoise
Dana Claxton, Tatanka (Buffalo)
Installation view of Dana Claxton Indian Candy, Winnipeg, Canada
Installation view of Dana Claxton Indian Candy, Vancouver, Canada
Dana Claxton, Geronimo in Pink
Installation view of Dana Claxton Indian Candy, Toronto, Canada
Installation view of Dana Claxton Indian Candy, Toronto, Canada
Installation view of Dana Claxton Indian Candy, Saskatoon, Canada

Dana Claxton, of Lakota (Sioux) descent, investigates the historical and continuing impact of colonialism on Aboriginal cultures in North America. Through her work, she questions notions of truth and identity by deconstructing the myths and exposing the realities and experiences of First Nations peoples. Claxton interrogates the presentation of Indigenous iconography through the digital archive in Indian Candy.

Working from found images of the “Wild West” sourced online, the artist focuses on those connected to Sitting Bull, the iconic tribal leader who led a resistance against government policies in the United States. As a descendant of Sitting Bull’s band who came to Canada, Claxton simultaneously mines her own personal family history and the legacy of racism. Her diverse range of images present aspects of Indigeneity in a new light; from the buffalo, which represents spirituality for Lakota people and was a main source of sustenance until their near annihilation, to signed souvenir cards from Buffalo Bill’s Wild West show. As a whole, Indian Candy uncovers truths and performs as a provisional archive of Aboriginal imagery seen through the lens of colonialism.

Claxton has radically altered these source materials—sometimes by adding vibrant text or shifting the colouration to highly saturated hues of pink, turquoise, and purple—enlarging the images to a scale that exaggerates the pixelization. Such transformations serve to draw these historic images into the present, allowing them to be examined with fresh eyes. Realized as a series of billboards in Toronto and six cities across Canada, the authenticity of these lush and seductive images gives way to alignments with advertising and commodification, highlighting how Indigenous iconography has been consumed by popular culture.

Supported by Pattison Outdoor Advertising and Nikon Canada. 
A part of PATTISON's ongoing Art in Transit programme
 

Toronto Locations

Dundas St W and Ossington Ave, Northwest corner
Dundas St W and Rusholme Rd, North side
Lansdown Ave at Dundas St W, Northeast corner

Across Canada Locations

Calgary
9 Ave SE at 10, 11 & 13 St SE
4 images, 10 x 20 ft

Dartmouth
North St at Alderney Dr
2 images, 10 x 20 ft

Montreal
Rue Frontenac at Rue Marie-Anne E & Rue Rachel E
3 images, 10 x 20 ft

Saskatoon
Pacific Ave at 22nd St E & 23rd St E
3 images, 10 x 20 ft

Vancouver
Howe St at Drake St & Nelson St
3 images, 10 x 20 ft

Winnipeg
Isabel St at William Ave
2 images, 10 x 20 ft
2 images, 12 x 16 ft

Curated by Bonnie Rubenstein

Hereros

Museum of Contemporary Canadian Art, courtyard
Archives 2014 Public Art

Indian Candy

Billboards along Dundas St W and Across Canada
Archives 2014 Public Art

Rebecca Belmore X

Billboards at Spadina Ave and Front St W, NE corner
Archives 2014 Public Art

Retail Compositions

Brookfield Place
Archives 2014 Public Art

Contacting Toronto 2014: Drowning World

Queen’s Park Subway Station
Archives 2014 Public Art

Gulu Real Art Studio, Passport

Toronto Pearson International Airport, Terminal 1
Archives 2014 Public Art

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CONTACT is a Toronto based non-profit organization dedicated to exhibiting, analyzing and celebrating photography and lens-based media through an annual festival that takes place every May.

Land Acknowledgement

CONTACT acknowledges that we live and work on the traditional territory of many nations, including the Mississaugas of the Credit, the Anishnabeg, the Chippewa, the Haudenosaunee and the Wendat peoples, and that this land is now home to many diverse First Nations, Inuit, and Métis peoples. CONTACT is committed to promoting Indigenous voices; to generating spaces for ongoing, meaningful, and creative Indigenous-settler dialogue; and to continuous learning about our place on this land.

Anti-Oppression

CONTACT is committed to the ongoing development of meaningful anti-oppressive practice on all levels. This includes our continuing goal of augmenting and maintaining diverse representation, foregrounding varied and under-represented voices and perspectives via our public platform (the Festival and all related programs), as well as continually examining the structures of power and decision-making within the organization itself. We aim to actively learn, grow, and embody the values of inclusivity, equity, and accessibility in all facets of the institution, as an ever-evolving process.