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Kayla Barbeau is a recent graduate from OCAD University with a BFA from the Drawing and Painting Thesis program

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Drawing & Painting - Undergraduate Programs - OCAD U

Abstract/Résumé : This presentation draws on work carried out with Inuit youth in Arviat, Nunavut around digital cultural convergence. This term relates to the concept of integrating a synergistic combination of technologies for the purpose of enhancing/vitalizing language, culture, and a sense of community/belonging. Not only can digital recording/digital content creation inspire and create excitement in participants, but it can also valorize and enhance self-esteem, pride in culture, and focus/enhancement of Inuktitut and other languages. Digital recording and new media development exercises share knowledges that (especially in oral cultures) are rapidly in danger of dissipating when not recorded while Elders are willing and able to recall and participate in such efforts.
In my work I additionally argue that for the Government of Canada’s mandate that the Northern Strategy create sustainable economic and cultural communities to be successful, that a sound culturally-guided cyberinfrastructural framework must needs be developed. Rather than continually outsourcing digital development, I argue that it is preferable to work towards training, mentoring and educating, so that these digital productions may be planned, developed, and implemented by residents of the communities on their own terms.
In my experience, I also work towards being platform agnostic (not limited to one software package/operating system etc). Indeed, some participants may use iPhones, others Android tablets, still others OSX/iOS or Windows computers etc) in order to create, edit, and disseminate content.
Simply recording information is in itself insufficient to truly enhance language/culture/community; but rather it is the broadcasting of this information (via social media, video hosting, various forms of streaming, mobile applications, media installations etc) that is additionally paramount.
My approach is a culturally-focused digitally convergent ICT designed to empower communities to record, edit, and disseminate local content in their target language, with the goal of enhancing and empowering language, culture, and sociopolitical resiliency.

work and are encouraged to explore various research-based approaches to drawing and painting

Abstract/Résumé : Missionaries were obviously intent on converting the angakkuit, and they sometimes engaged in competitions with them. They became aware that Inuit considered them to be angakkuit of a new kind. However, angakkuniq went underground and Inuit became Christians. Soon, both Anglican and Catholic missionaries did their best to raise Inuit leaders, hoping they would facilitate or take over the evangelization process. Among the Anglicans, many Inuit became Native pastors and lay readers, engaging themselves in converting other Inuit. Among Catholics, it took much more time before missionaries accepted to raise Inuit nuns, candidates to become priests and tuksiartiit (catechists). This paper compares various interesting cases such as Peter Tulugarjuaq, Armand Tagoona, John Ajaruaq, Pelagie Inuk, and many others in order to elucidate the different strategies and show to what extent they were successful or failed. An interesting point is to see how many of these Christian leaders in fact transcended both shamanism and Christianity, Inuit traditions and modernity. Thus Suluk, Pelagie, Sikkuaq as well as Tagoona for example, were not only preachers, but also artists and music and drawings allowed them to connect to the world of the inummariit, the true Inuit that had preceded them. In that respect, these Christian leaders were successful in transcending and crossing the boundaries between the past and the present, Inuit and Christian traditions, Roman Catholicism and Anglicanism. But all of them, however, did not find it easy as that these boundaries were still very much valorized in the established Anglican and Roman Catholic Churches. Their thought and work shows how Inuit preachers were often trying to integrate different worlds that the missionaries tried to keep separated.

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Abstract/Résumé : This papers draws on a five-month ethnography among the urban Inuit community of Ottawa. The focus is on the challenges that Inuit youth face during everyday life in an urban environment and the strategies they develop as a means to overcome those challenges. Being connected with the world(s) surrounding them - what Wilson (2008) calls relationality - appeared to be central in the way that Inuit youth feel and orientate themselves in the city. Connectedness for Inuit youth refers to close and significant relationships with people, ancestors, future generations, objects, animals and nature. These represent elements of the Inuit universe of meanings and, more largely, indigenous universes of meanings. Therefore, being comfortable is intrinsically linked to the maintenance of harmonious relationships with these different actors. Thus, having difficulties in encountering or building meaningful relationships greatly affects their ease in the diverse worlds they engage.
As we will see, in urban milieus, like Ottawa, a diversity of universes of meanings unfolds and some of them are very foreign to Inuit youth. Nevertheless, youth develops strategies to establish relationships within the city. They acquaint themselves with the urban worlds and its inhabitants, but also find ways to evacuate the stress generated by these new living conditions. As Ottawa hosts one of the largest Inuit communities outside the Inuit Nunangat, Inuit youth can connect to the Inuit worlds and, in doing so, benefit from Inuit and other indigenous organizations’ support. Thus, the urban challenges young Inuit face are mitigated by this particular context.

Abstract/Résumé : This paper analyzes Alootook Ipellie's Arctic Dreams and Nightmares to explore how Inuit intellectual history understands ethical relationships with animals. In a political climate where non-Inuit celebrities raise money and public attention to protest the seal hunt, Inuit perspectives often emerge in the form of responses to these protests. For instance, Ellen DeGeneres' recent Oscar selfie raised $1.5 million to protest the seal hunt, and it sparked the #sealfie campaign, through which Inuit share pictures and stories to educate DeGeneres about seal hunting (Childs, np). While such responses showcase resilient Inuit who advocate for their rights, they also highlight the ongoing failure of non-Inuit to understand Inuit perspectives before offering recommendations concerning Inuit hunting. This paper pushes against such failure by seeking to understand Inuit animal ethics on its own terms.
I explore how Ipellie's collection of short fiction addresses contemporary issues in Arctic politics by re-imagining themes from unikkaaqtuat--traditional stories. In particular, I focus on the representation of animal souls in "After Brigitte Bardot," a short story about harp seal pups who seek revenge on those who have killed them--but only in France, the homeland of actress-activist Brigitte Bardot. By drawing on Inuit knowledge concerning vengeful souls, I show how seal-hunting protesters breach Inuit protocols for respecting animals, causing more damage and more offense to seals than the hunters who kill them for food and clothing. My ultimate goal with this analysis is to explore how non-Inuit can adapt their approach to Arctic politics and research in a way that enters into conversation with, rather than ignores, Inuit knowledge, method, and intellectual history.

8245 SW Barnes Road Portland, OR 97225

Abstract/Résumé : According to Inuit discourses, art making and works of arts are a significant way to preserve traditional knowledge thus, sharing individual and collective experiences through arts such as carvings, prints, and drawings. This presentation will explore some individual’s views about their artistic processes and their intents related to the international art market, cultural institutions and museums where Inuit works of art are generally intended for. Thanks to analysis of data collected in Nunavut since 2006 and a personal experience as worker within an Inuit art gallery, our purpose will discuss about the gap between Inuit discourses devoted to graphic arts and sculptures, and their interpretations given down south by Qallunaat (non-Inuit people). Although many works of art from the Canadian Arctic exist, a selection of few recent artworks will let us focus on different meaning levels stated by artists, anthropologist, historian of art and curators.

was an architecture student at the University of Oregon in the early 1960s and relocated to Toronto in 1967. From 1968 to 1970 he worked full time at the David Mirvish Gallery and later went on to exhibit there, as well as at major galleries both in Canada and around the world. He divides his time evenly between his painting career and his teaching at OCAD U. Solomon’s paintings, watercolours, sculptures and stage sets are characterized by intense, vibrant colour and complex pictoral space.

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  • Chinese fonts - Luc Devroye's Home Page

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‘OCAD U’ Articles at Projectcore Inc.

At the 300 level, students develop a critical understanding of how to assess work and are encouraged to explore various research-based approaches to drawing and painting. The course Professional Practice introduces students to the surrounding art world, focusing on the issues pertinent to contemporary art practice, the local art community and the development of an art career.

Articles tagged with 'OCAD U' at Projectcore Inc

At the 200 level, courses in Drawing & Painting provide a material and conceptual knowledge base, moving through techniques and mediums, and developing skills from basic drawing to digital imaging. A variety of approaches to painting include mixed media and camera art. The studio-seminar course Contemporary Issues: Art Today focuses on how ideas and concepts can be applied to the creation of studio works.

Illustrative Painting Teachers at OCAD U — Art of Julia …

Initially, you explore and experiment with mediums, techniques and processes. You develop technical skills and a vocabulary in drawing, painting, mixed and alternative media, digital imaging, camera art, criticism and analysis. Next, you begin and expand upon your own body of artwork.

s 95th annual graduate exhibition, ..

In Drawing & Painting, you learn to perceive, read and translate the visual world into personal forms of pictorial expression and re­presentation. You acquire knowledge of theory, history and criticism as you develop your relationship to the physical production of art.

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