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Artist makes popular Star Wars characters using Native symbolism

IN HOPES OF HELPING OTHERS UNDERSTAND NATIVE CULTURE BETTER. NEWS 13’S SOYOUNG KIM SHOWS US HIS TAKE ON STAR WARS. – 40 “First thing he said was Rogue One. Are you excited dad. Of course I’m excited. Gave me a high-five.” MICHAEL TOYA AND HIS SON ARE AVID STAR WARS FANS. MICHAEL TOYA AND HIS SON ARE AVID STAR WARS FANS. THEY PLAN TO WATCH THE NEW MOVIE OPENING WEEKEND. NATS. – 05 NATS “Han Solo might come back maybe, hopefully.” THEIR FANDOM INSPIRED MICHAEL’S LATEST SERIES OF star wars 5 piece. -54 “I have a storm trooper, I have a Boba Fett, I have Darth Vader. and I also have R2D2.” NATS – NATS popping pen cap HE DRAWS DESIGNS WITH BLACK INK ON ONE BOARD – NATS opening mat cutter THEN ONE EDGE AT A TIME – 42 “Intricate mat cutouts.” HE COMPLETES HIS CHARACTERS WITH THE SECOND PIECE. – 32 “Ties together and becomes as one in the piece.” MICHAEL IS A NATIVE ARTIST. FROM THE PUEBLO OF JEMEZ.

HE USES CURRENT POPULAR THEMES… – 27 “Incorporate pop culture and the colors and the meaning that no one’s ever heard of.” AND INTERPRETS THEM USING NATIVE SYMBOLISM. – 58 “I want the spirit of my people to touch that piece.” AT QUICK GLANCE. THIS MAY LOOK LIKE ANY OTHER STORM TROOPER OR DARTH VADER BUT IF YOU LOOK CAREFULLY.. YOU’LL FIND BEAR CLAWS – 05 “Represent strength, wisdom, and courage.” EAGLE FEATHERS – 22 “That majestic spirit of the eagle, and the strength and the spirit of the eagle.” AND FORCES OF NATURE. – 15 “The rain comes and brings a blessing on the land.” HE HOPES PEOPLE WILL LOOK BETWEEN THE LINES… AND SEE BEYOND THE POPULAR CHARACTERS. – 03″For people to know about what our culture represents.” SOYOUNG KIM, KRQE, NEWS 13. MICHAEL SAYS EACH STAR WARS PIECE TAKES ABOUT 12 TO 14 HOURS TO COMPLETE. ACCORDING TO DISNEY … THE LATEST MOVIE IN THE STAR WARS SERIES IS PROJECTED TO BRING IN 140-MILLION DOLLARS OPENING WEEKEND. .

Walter Phillips Gallery, Banff, May 15 – June 29

The interactive work exhibited in “Language Games,” curated by Sara Diamond and Catherine Crowston, embodies a peculiarly twentieth-century preoccupation with art and revolution playing themselves out in a realm of amusement commodities. As the curators point out, an understanding of the impact of electronic systems of communication and cybernetic devices on social formations is important to our understanding of the emerging world order. This postmodern hyperspace is the cultural echo of that logic of transnational networks and communication flows which characterizes the globalization and cybernation of accumulation. It is their screens, networks, simulations and cybernetic systems that produce Baudrillard’s sense of the technological sublime. By embracing these technologies and strategies, media artists are providing valuable insights into the forces which work to shape and control these new image and data flows.

Language mediates human experience by unifying those who speak it and by expressing the collective ethos of a given society. However, in this exhibition language is not simply a tool for expression; it is also a structure that defines the boundaries of communication and shapes the individuals who participate. Cultural differences are rapidly being undermined by the spread of McLuhan’s electronic “global village,” and by the successes of imperialistic capitalism, which is eroding local traditions and indigenous social groupings. Today, electronically-based language forms increasingly intervene in our lives in ways that resist linear or casual framing.

Electronic systems of communication are changing the fabric of advanced Western societies. New technologies are reaching into the core of the Western subject at the same time that we are witnessing its unraveling under the weight of multinational corporate capitalism. These evolving language forms are increasingly shaping our culture and the subjects within that culture. Global movements of deterritorialization, postcolonialism and technological determinism are creating all sorts of new subjects that cannot be articulated by current methods of psychoanalysis.

Today, it is possible to be in two places at one time; to be in two or more moments of historical space and time; to be in or out of one’s body; and to merge with a machine. The emerging subject is a diffuse, often plural one, capable of a completely different kind of existence. In our postmodern world the line between words and things, subject and object, inside and outside, humanity and nature, idea and matter becomes blurred and indistinct, and a new configuration of the relation of action and language is set in place.

The first piece seen when entering the gallery is National Heritage (1997), a photo-based installation by London artists Harwood and the collective Mongrel. National Heritage consists of four large, black-and-white photographs of a man’s head, and each photograph has a different coloured mask graphically sutured directly onto the face. The photos are accompanied by a framed text panel that discusses a Web site where self-identified racists are encouraged to deposit a digital sample of their skin colour. At the Web site the racist visitor is required to interact with anti-racist content. In considering the overtly racist content of National Heritage it is important to note the project’s relationship to cultural privilege (i.e., occupying space in a public art gallery) and notions of taste. Cultural domination is a by-product of taste which acts as a measure of distance between those of us who have it and those others who do not.

This informative article first appear on: Articles on Oil Painting