The Art Canada Institute
invites you to
Gerald Mcmaster & Ming Tiampo on Art in Canada Past and Future
A Conversation About Works by Iljuwas Bill Reid and Jin-me Yoon
Co-presented with The Image Centre
(Pay-what-you-can donations welcome)
Seating is limited and available on a first-come, first-served basis; to secure your spot, please email firstname.lastname@example.org
Tuesday, April 25, 7:00 p.m. EST
George Ignatieff Theatre
15 Devonshire Place, Toronto, ON
Who decides how Canadian art history is written and who gets documented in it? This talk brings together three of today’s most celebrated artists and thinkers: Jin-me Yoon, Gerald McMaster, and Ming Tiampo. In 2022, Yoon received the Scotiabank Photography Award, and the accompanying exhibition will be on view April 29 to August 5, 2023, at The Image Centre in Toronto. ACI’s book Jin-me Yoon: Life & Work by Ming Tiampo was released last fall. A specialist in transnational modernisms, Tiampo has written extensively on the topic. She and Yoon will be in conversation with Gerald McMaster, the internationally revered scholar of Indigenous art and the author of ACI’s recent publication Iljuwas Bill Reid: Life & Work. The group will discuss themes of identity, citizenship, culture, ethnicity, gender, history, and nationhood in relation to their own bodies of work and writing—and to the narrative of art in Canada.
Korean-born, Vancouver- based multimedia artist Jin-me Yoon created one of the twentieth century’s most iconic Canadian works, A Group of Sixty-Seven, 1996, a powerful commentary on national identity and discourse. Her work is celebrated internationally and has been shown in North America, Asia, Australia, and Europe.
A thought-provoking and influential curator, artist, author, and scholar, Gerald McMaster has brought Indigenous art to the forefront of our cultural landscape at institutions including the Canadian Museum of History, the Smithsonian’s National Museum of the American Indian in Washington, and the Art Gallery of Ontario.
Ming Tiampo is Professor of Art History and Co-Director of the Centre for Transnational Cultural Analysis at Carleton University. She is a co-lead of Worlding Public Cultures, a transnational forum for research exchange, and Asia Forum for the Contemporary Art of Global Asias, a peripatetic discursive platform.
For their support of this talk, the Art Canada Institute gratefully acknowledges the generosity of Eleanor and Francis Shen and the Koerner Foundation in memory of Walter C. Koerner.