CANDICE HOPKINS

(Carcross/Tagish First Nation) Curatorial Advisor for documenta 14 and writer.

Candice Hopkins is currently a Curatorial Advisor for documenta (14). She has held curatorial positions at the Museum of Contemporary Native Art, National Gallery of Canada, the Western Front, and the Walter Phillips Gallery. A graduate of the Center for Curatorial Studies at Bard College, she was awarded the Ramapo Curatorial Prize for the exhibition Every Stone Tells a Story: The Performance Work of David Hammons and Jimmie Durham. Hopkins’ writings on history, art, and vernacular architecture have been published by MIT Press, BlackDog Publishing, Revolver Press, New York University, The Fillip Review, and the National Museum of the American Indian.

 

DAVID GARNEAU

(Métis), Associate Professor of Visual Arts, University of Regina, Saskatchewan.

David's practice includes curation, critical writing, painting, performance art, and video. He is most interested in issues of nature and culture, metaphysics and materialism, contemporary Indigenous identities and display. Garneau is currently working on curatorial and writing projects featuring contemporary Indigenous art in Canada and Australia, and is part of a five-year, SSHRC funded curatorial research project, “Creative Conciliation,” that tackles art after the Apology and the report on Indian Residential Schools. He has curated numerous exhibitions including Moving Forward, Never Forgetting, with Michelle LaVallee (Mackenzie Art Gallery, Regina, Canada), an exhibition about conciliation and reconciliation; and most recently With Secrecy and Despatch, with Tess Allas (Campbelltown Art Centre, Sydney, Australia), about the Appin Massacre. Garneau has written numerous critical art essays, catalogue essays and reviews. His paintings are collected by Canadian Museum of Civilization; The Canadian Parliament; Indian and Inuit Art Centre; the Glenbow Museum; the Mackenzie Art Gallery; Mendel Art Gallery; Saskatchewan Arts Board; Alberta Foundation for the Arts; NONAM, Zurich; and are in many other public and private collections.

 

IFTIKHAR DADI

Associate Professor, History of Art and Visual Studies Department, Cornell University

Iftikhar Dadi’s research examines art as a global and networked practice from the late nineteenth century to the present. He engages with theorizations of modernity, contemporaneity, and postcoloniality to analyze the modern and contemporary art of Asia, the Middle East, and their diasporas. Another research interest is his study of media, crafts, and popular culture with reference to ongoing socio-aesthetic transformations in South Asia, seeking to understand how emergent urban publics forge new avenues of civic participation. Dadi’s curatorial projects and his work as a practicing artist have further served to enrich his academic scholarship. Read more here.

 

JOLENE RICKARD

(Tuscarora Nation) Associate Professor, History of Art and Visual Studies and Art Departments and Director, American Indian and Indigenous Studies Program, Cornell University.

Jolene Rickard is a visual historian, artist and curator interested in the issues of Indigeneity within a global context. Recent projects; Presenter, The Creative Time Summit, Venice Biennale, 2015, Advisor “Sakahàn: 1st International Quinquennial of New Indigenous Art”, National Gallery of Canada, 2013, Te Tihi Scholar/Artist Gathering (New Zealand) 2010 and co-curator for the inaugural exhibition for the Smithsonian’s National Museum of the American Indian (Washington, D.C.) 2004. She was a recipient of a Ford Foundation Research Grant, 2008-11, and is currently a working on an Engaged Research Grant, 2015-16. Essays include “Visualizing Sovereignty in the Time of Biometric Sensors,” in The South Atlantic Quarterly: Sovereignty, Indigeneity, and the Law, 110:2, Spring 2011, “Skin Seven Spans Thick,” in Hide: Skin as Material and Metaphor, NMAI: DC, 2010, “Absorbing or Obscuring the Absence of a Critical Space in the Americas for Indigeneity: The Smithsonian's National Museum of the American Indian,” in RES: Anthropology and Aesthetics, No. 52, Autumn, 2007, and Rebecca Belmore: Fountain by Jolene Rickard and Jessica Bradley, Morris and Helen Belkin Gallery and Kamloops Art Gallery, Canada, 2005. Read more here.

 

KAJA M. McGOWAN

Associate Professor, History of Art and Visual Studies Department and Director, Southeast Asia Program, Cornell University.

Kaja M. McGowan’s areas of interest involve South and Southeast Asia with emphasis on Indonesia, particularly Java and Bali (both historically Indic in orientation) studied in relation to the subcontinent. Rather than see India and Indonesia, for example, as modes of influence between two points, her scholarly interests encourage studying the reciprocal relationships between neighboring countries in Southeast Asia. Her research explores the flow of ideas and artifacts along this highway -- architecture, bronzes, textiles, ceramics, performance traditions, and visualizations of texts like Panji Malat, the Ramayana, and the Mahabharata -- artifacts that move and those that are locally produced. This accounts for the shaping of ideas and the development of styles across vast geographical and historical distances. Her work is governed by the complex ways in which History of Art and Visual Studies intersect with Anthropology, Material Culture, Colonial and Post-colonial Theory, Performance, Gender and Religious Studies. Read more here.

 

MIQUE'L DANGELI

(Tsimshian Nation) PhD, Instructor, First Nations and Indigenous Studies, University of British Columbia.

Mique’l’s work in dance led to her doctoral research, which focuses on the processes through which Northwest Coast First Nations dance artists compose, choreograph, and collaborate. She examines the ways in which dance artists assert, negotiate, and enact protocol as a part of their process and how it can be understood as an embodied form of sovereignty that affirms First Nations land rights, epistemologies, and hereditary privileges among diverse audiences and collaborators. Raised on the Annette Island Indian Reserve, Mique’l Dangeli is of the Tsimshian Nation of Metlakatla, Alaska. She belongs to the Lax̱sgiik (Eagle Clan) and carries the Tsimshian name Shu’g̱oot Lax̱sgiik (Devoted Eagle) and Tlingit name Taakw Shaawát (Winter Woman). Mique’l is a dancer, choreographer, art historian, curator, and author. Since 2003, she and her husband Nisga’a artist and carver Mike Dangeli have shared the leadership of Git Hayetsk (People of the Copper Shield), an internationally-renowned Northwest Coast First Nations mask-dancing group based in the unceded territories of the Musqueam, Squamish, and Tsleil-Waututh peoples, known today as Vancouver, BC. Git Hayetsk is dedicated to respectfully continuing their peoples’ ancient tradition of expressing their contemporary existence.

 

SALAH M. HASSAN

Goldwin Smith Professor, Africana Studies and Research Center, History of Art and Visual Studies Department, Cornell University.

Salah M. Hassan's research interests include; African and African American art history, African aesthetics, African cinema, and Contemporary art and theory. Hassan is currently working on a book manuscript entitled, Khartoum School: The Making of the Modern Art Movement in Sudan. Read more here.