Tim Schouten
Web Site Link: Web Site Link
Virtual Collection: Original CCCA
Country of Birth: Canada
City: Winnipeg
Country: Canada
Type of Creator: Artist
Gender: Male
Mediums: painting, text-based
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Work by Tim Schouten
First Computer
Work ID: 79721
Description: More RAM! Series.
Measurements: 60.96 x 45.72 cm
Collection:
Date Made: 1995
Materials: oil on canvas
Virtual Collection: Original CCCA
Study after Workstation
Work ID: 79724
Description: More RAM! Series.
Measurements: 45.72 x 60.96 cm
Collection:
Date Made: 1995
Materials: oil on canvas
Virtual Collection: Original CCCA
Two Computers in a Landscape
Work ID: 79723
Description: More RAM! Series.
Measurements: 71.12 x 106.68 cm
Collection:
Date Made: 1995
Materials: oil on canvas
Virtual Collection: Original CCCA
Workstation
Work ID: 79725
Description: More RAM! Series.
Measurements: 137.16 x 167.64 cm
Collection:
Date Made: 1995
Materials: oil on canvas
Virtual Collection: Original CCCA
Grey iMac2
Work ID: 79722
Description: More RAM! Series.
Measurements: 25.4 x 20.32 cm
Collection:
Date Made: 1995
Materials: oil on canvas
Virtual Collection: Original CCCA
Tracks
Work ID: 79735
Description: Treaty Lands & Roads North series.
Measurements: 91.44 x 152.4 cm
Collection:
Date Made: 1998-2001
Materials: oil and tar on canvas
Virtual Collection: Original CCCA
Ruins
Work ID: 79732
Description: Treaty Lands & Roads North series.
Measurements: 76.2 x 60.96 cm
Collection:
Date Made: 1998-2001
Materials: oil on canvas
Virtual Collection: Original CCCA
Little Doghead Point, Spring Thaw
Work ID: 79734
Measurements: 20.32 x 116.84 cm diameter
Collection:
Date Made: 1998-2001
Materials: oil, gold leaf, metal, tar on wood
Virtual Collection: Original CCCA
IR #12 (Bloodvein, Treaty 5)
Work ID: 79730
Description: Treaty Lands & Roads North series.
Measurements: 106.68 x 121.92 cm
Collection:
Date Made: 1998-2001
Materials: oil on canvas
Virtual Collection: Original CCCA
Road (Treaty 5)
Work ID: 79737
Description: Treaty Lands & Roads North series.
Measurements: 137.16 x 167.64 cm
Collection:
Date Made: 1998-2001
Materials: oil, sand, rust on canvas
Virtual Collection: Original CCCA
Fire (Treaty 5)
Work ID: 79729
Description: Treaty Lands & Roads North series.
Measurements: 137.16 x 167.64 cm
Collection:
Date Made: 1998-2001
Materials: oil, sand and sawdust on canvas
Virtual Collection: Original CCCA
Bloodvein River (Treaty 5)
Work ID: 79727
Description: Treaty Lands & Roads North series.
Measurements: 60.96 x 60.96 cm
Collection:
Date Made: 1998-2001
Materials: oil on canvas
Virtual Collection: Original CCCA
River Crossing (Treaty 5)
Work ID: 79726
Description: Treaty Lands & Roads North series.
Measurements: 60.96 x 76.2 cm
Collection:
Date Made: 1998-2001
Materials: oil and gold leaf on canvas
Virtual Collection: Original CCCA
Hwy 8 & PR 234 (Winter Road Closed)
Work ID: 79736
Description: Treaty Lands & Roads North series.
Measurements: 91.44 x 121.92 cm
Collection:
Date Made: 1998-2001
Materials: oil on canvas
Virtual Collection: Original CCCA
Peguis
Work ID: 79731
Description: Treaty Lands & Roads North series.
Measurements: 137.16 x 167.64 cm
Collection:
Date Made: 1998-2001
Materials: oil on canvas
Virtual Collection: Original CCCA
Cemetery (Treaty 5)
Work ID: 79728
Description: Treaty Lands & Roads North series.
Measurements: 137.16 x 167.64 cm
Collection:
Date Made: 1998-2001
Materials: oil, gold leaf, sand and mixed media on canvas
Virtual Collection: Original CCCA
Untitled 1 (In the Absence of Horses)
Work ID: 79864
Description:
In the Absence of Horses [2000-2008]
In The Absence of Horses is a series of one hundred small encaustic paintings based on images of horses. The series evolved out of a single initial image – a black horse rolling on its back after a long ride, hooves akimbo. So little a part of most peoples’ daily lives, horses retain an iconic and ubiquitous presence in the media. In many ways horses have all but disappeared from our culture except as emblematic entities inhabiting the contemporary psyche.
Where are the horses really? Still used in cattle ranching and in policing – a holdover role, now almost purely symbolic, horses are largely relegated to sports and entertainment roles in Western societies. They are in the rodeo, in circuses, in horse shows, at the races, on television, in movies, in songs, in poems – and in art. From Homer to Remington to Bruce Nauman and Maurizio Cattelan’s, The Ballad of Trotsky, a beautiful taxidermed horse slung from the ceiling which recently sold at Sotheby's for $2 million. The Kentucky Derby is always front page news – think, “Smarty Jones, the little horse that could”. Tony Soprano loved a horse. This body of work is informed by the writings of the late American philosopher, poet and animal trainer Vicki Hearne, who speculated on the moral life of domestic animals, their lives in concert with humans and her profound belief that pets possess courage, wisdom and intellect. The title, In the Absence of Horses is taken from the title of a book and a poem by the late Ms Hearne. The poem touches on love and loss and the power of language and concludes with the line, “Here, in the grass, are horses.”
Tim Schouten - December 2004
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2000
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Untitled 36 (In the Absence of Horses)
Work ID: 79872
Description:
In the Absence of Horses [2000-2008]
In The Absence of Horses is a series of one hundred small encaustic paintings based on images of horses. The series evolved out of a single initial image – a black horse rolling on its back after a long ride, hooves akimbo. So little a part of most peoples’ daily lives, horses retain an iconic and ubiquitous presence in the media. In many ways horses have all but disappeared from our culture except as emblematic entities inhabiting the contemporary psyche.
Where are the horses really? Still used in cattle ranching and in policing – a holdover role, now almost purely symbolic, horses are largely relegated to sports and entertainment roles in Western societies. They are in the rodeo, in circuses, in horse shows, at the races, on television, in movies, in songs, in poems – and in art. From Homer to Remington to Bruce Nauman and Maurizio Cattelan’s, The Ballad of Trotsky, a beautiful taxidermed horse slung from the ceiling which recently sold at Sotheby's for $2 million. The Kentucky Derby is always front page news – think, “Smarty Jones, the little horse that could”. Tony Soprano loved a horse. This body of work is informed by the writings of the late American philosopher, poet and animal trainer Vicki Hearne, who speculated on the moral life of domestic animals, their lives in concert with humans and her profound belief that pets possess courage, wisdom and intellect. The title, In the Absence of Horses is taken from the title of a book and a poem by the late Ms Hearne. The poem touches on love and loss and the power of language and concludes with the line, “Here, in the grass, are horses.”
Tim Schouten - December 2004
Measurements: 22.86 x 30.48 cm
Collection:
Date Made: 2000
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Untitled 23 (In the Absence of Horses)
Work ID: 79871
Description:
In the Absence of Horses [2000-2008]
In The Absence of Horses is a series of one hundred small encaustic paintings based on images of horses. The series evolved out of a single initial image – a black horse rolling on its back after a long ride, hooves akimbo. So little a part of most peoples’ daily lives, horses retain an iconic and ubiquitous presence in the media. In many ways horses have all but disappeared from our culture except as emblematic entities inhabiting the contemporary psyche.
Where are the horses really? Still used in cattle ranching and in policing – a holdover role, now almost purely symbolic, horses are largely relegated to sports and entertainment roles in Western societies. They are in the rodeo, in circuses, in horse shows, at the races, on television, in movies, in songs, in poems – and in art. From Homer to Remington to Bruce Nauman and Maurizio Cattelan’s, The Ballad of Trotsky, a beautiful taxidermed horse slung from the ceiling which recently sold at Sotheby's for $2 million. The Kentucky Derby is always front page news – think, “Smarty Jones, the little horse that could”. Tony Soprano loved a horse. This body of work is informed by the writings of the late American philosopher, poet and animal trainer Vicki Hearne, who speculated on the moral life of domestic animals, their lives in concert with humans and her profound belief that pets possess courage, wisdom and intellect. The title, In the Absence of Horses is taken from the title of a book and a poem by the late Ms Hearne. The poem touches on love and loss and the power of language and concludes with the line, “Here, in the grass, are horses.”
Tim Schouten - December 2004
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2000
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Untitled 21 (In the Absence of Horses)
Work ID: 79870
Description:
In the Absence of Horses [2000-2008]
In The Absence of Horses is a series of one hundred small encaustic paintings based on images of horses. The series evolved out of a single initial image – a black horse rolling on its back after a long ride, hooves akimbo. So little a part of most peoples’ daily lives, horses retain an iconic and ubiquitous presence in the media. In many ways horses have all but disappeared from our culture except as emblematic entities inhabiting the contemporary psyche.
Where are the horses really? Still used in cattle ranching and in policing – a holdover role, now almost purely symbolic, horses are largely relegated to sports and entertainment roles in Western societies. They are in the rodeo, in circuses, in horse shows, at the races, on television, in movies, in songs, in poems – and in art. From Homer to Remington to Bruce Nauman and Maurizio Cattelan’s, The Ballad of Trotsky, a beautiful taxidermed horse slung from the ceiling which recently sold at Sotheby's for $2 million. The Kentucky Derby is always front page news – think, “Smarty Jones, the little horse that could”. Tony Soprano loved a horse. This body of work is informed by the writings of the late American philosopher, poet and animal trainer Vicki Hearne, who speculated on the moral life of domestic animals, their lives in concert with humans and her profound belief that pets possess courage, wisdom and intellect. The title, In the Absence of Horses is taken from the title of a book and a poem by the late Ms Hearne. The poem touches on love and loss and the power of language and concludes with the line, “Here, in the grass, are horses.”
Tim Schouten - December 2004
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2000
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Untitled 3 (In the Absence of Horses)
Work ID: 79866
Description:
In the Absence of Horses [2000-2008]
In The Absence of Horses is a series of one hundred small encaustic paintings based on images of horses. The series evolved out of a single initial image – a black horse rolling on its back after a long ride, hooves akimbo. So little a part of most peoples’ daily lives, horses retain an iconic and ubiquitous presence in the media. In many ways horses have all but disappeared from our culture except as emblematic entities inhabiting the contemporary psyche.
Where are the horses really? Still used in cattle ranching and in policing – a holdover role, now almost purely symbolic, horses are largely relegated to sports and entertainment roles in Western societies. They are in the rodeo, in circuses, in horse shows, at the races, on television, in movies, in songs, in poems – and in art. From Homer to Remington to Bruce Nauman and Maurizio Cattelan’s, The Ballad of Trotsky, a beautiful taxidermed horse slung from the ceiling which recently sold at Sotheby's for $2 million. The Kentucky Derby is always front page news – think, “Smarty Jones, the little horse that could”. Tony Soprano loved a horse. This body of work is informed by the writings of the late American philosopher, poet and animal trainer Vicki Hearne, who speculated on the moral life of domestic animals, their lives in concert with humans and her profound belief that pets possess courage, wisdom and intellect. The title, In the Absence of Horses is taken from the title of a book and a poem by the late Ms Hearne. The poem touches on love and loss and the power of language and concludes with the line, “Here, in the grass, are horses.”
Tim Schouten - December 2004
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2000
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Untitled 18 (In the Absence of Horses)
Work ID: 79868
Description:
In the Absence of Horses [2000-2008]
In The Absence of Horses is a series of one hundred small encaustic paintings based on images of horses. The series evolved out of a single initial image – a black horse rolling on its back after a long ride, hooves akimbo. So little a part of most peoples’ daily lives, horses retain an iconic and ubiquitous presence in the media. In many ways horses have all but disappeared from our culture except as emblematic entities inhabiting the contemporary psyche.
Where are the horses really? Still used in cattle ranching and in policing – a holdover role, now almost purely symbolic, horses are largely relegated to sports and entertainment roles in Western societies. They are in the rodeo, in circuses, in horse shows, at the races, on television, in movies, in songs, in poems – and in art. From Homer to Remington to Bruce Nauman and Maurizio Cattelan’s, The Ballad of Trotsky, a beautiful taxidermed horse slung from the ceiling which recently sold at Sotheby's for $2 million. The Kentucky Derby is always front page news – think, “Smarty Jones, the little horse that could”. Tony Soprano loved a horse. This body of work is informed by the writings of the late American philosopher, poet and animal trainer Vicki Hearne, who speculated on the moral life of domestic animals, their lives in concert with humans and her profound belief that pets possess courage, wisdom and intellect. The title, In the Absence of Horses is taken from the title of a book and a poem by the late Ms Hearne. The poem touches on love and loss and the power of language and concludes with the line, “Here, in the grass, are horses.”
Tim Schouten - December 2004
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2000
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Untitled 20 (In the Absence of Horses)
Work ID: 79869
Description:
In the Absence of Horses [2000-2008]
In The Absence of Horses is a series of one hundred small encaustic paintings based on images of horses. The series evolved out of a single initial image – a black horse rolling on its back after a long ride, hooves akimbo. So little a part of most peoples’ daily lives, horses retain an iconic and ubiquitous presence in the media. In many ways horses have all but disappeared from our culture except as emblematic entities inhabiting the contemporary psyche.
Where are the horses really? Still used in cattle ranching and in policing – a holdover role, now almost purely symbolic, horses are largely relegated to sports and entertainment roles in Western societies. They are in the rodeo, in circuses, in horse shows, at the races, on television, in movies, in songs, in poems – and in art. From Homer to Remington to Bruce Nauman and Maurizio Cattelan’s, The Ballad of Trotsky, a beautiful taxidermed horse slung from the ceiling which recently sold at Sotheby's for $2 million. The Kentucky Derby is always front page news – think, “Smarty Jones, the little horse that could”. Tony Soprano loved a horse. This body of work is informed by the writings of the late American philosopher, poet and animal trainer Vicki Hearne, who speculated on the moral life of domestic animals, their lives in concert with humans and her profound belief that pets possess courage, wisdom and intellect. The title, In the Absence of Horses is taken from the title of a book and a poem by the late Ms Hearne. The poem touches on love and loss and the power of language and concludes with the line, “Here, in the grass, are horses.”
Tim Schouten - December 2004
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2000
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Untitled 9 (In the Absence of Horses)
Work ID: 79867
Description:
In the Absence of Horses [2000-2008]
In The Absence of Horses is a series of one hundred small encaustic paintings based on images of horses. The series evolved out of a single initial image – a black horse rolling on its back after a long ride, hooves akimbo. So little a part of most peoples’ daily lives, horses retain an iconic and ubiquitous presence in the media. In many ways horses have all but disappeared from our culture except as emblematic entities inhabiting the contemporary psyche.
Where are the horses really? Still used in cattle ranching and in policing – a holdover role, now almost purely symbolic, horses are largely relegated to sports and entertainment roles in Western societies. They are in the rodeo, in circuses, in horse shows, at the races, on television, in movies, in songs, in poems – and in art. From Homer to Remington to Bruce Nauman and Maurizio Cattelan’s, The Ballad of Trotsky, a beautiful taxidermed horse slung from the ceiling which recently sold at Sotheby's for $2 million. The Kentucky Derby is always front page news – think, “Smarty Jones, the little horse that could”. Tony Soprano loved a horse. This body of work is informed by the writings of the late American philosopher, poet and animal trainer Vicki Hearne, who speculated on the moral life of domestic animals, their lives in concert with humans and her profound belief that pets possess courage, wisdom and intellect. The title, In the Absence of Horses is taken from the title of a book and a poem by the late Ms Hearne. The poem touches on love and loss and the power of language and concludes with the line, “Here, in the grass, are horses.”
Tim Schouten - December 2004
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2000
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Untitled 2 (In the Absence of Horses)
Work ID: 79865
Description:
In the Absence of Horses [2000-2008]
In The Absence of Horses is a series of one hundred small encaustic paintings based on images of horses. The series evolved out of a single initial image – a black horse rolling on its back after a long ride, hooves akimbo. So little a part of most peoples’ daily lives, horses retain an iconic and ubiquitous presence in the media. In many ways horses have all but disappeared from our culture except as emblematic entities inhabiting the contemporary psyche.
Where are the horses really? Still used in cattle ranching and in policing – a holdover role, now almost purely symbolic, horses are largely relegated to sports and entertainment roles in Western societies. They are in the rodeo, in circuses, in horse shows, at the races, on television, in movies, in songs, in poems – and in art. From Homer to Remington to Bruce Nauman and Maurizio Cattelan’s, The Ballad of Trotsky, a beautiful taxidermed horse slung from the ceiling which recently sold at Sotheby's for $2 million. The Kentucky Derby is always front page news – think, “Smarty Jones, the little horse that could”. Tony Soprano loved a horse. This body of work is informed by the writings of the late American philosopher, poet and animal trainer Vicki Hearne, who speculated on the moral life of domestic animals, their lives in concert with humans and her profound belief that pets possess courage, wisdom and intellect. The title, In the Absence of Horses is taken from the title of a book and a poem by the late Ms Hearne. The poem touches on love and loss and the power of language and concludes with the line, “Here, in the grass, are horses.”
Tim Schouten - December 2004
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2000
Materials: oil, microcrystalline wax on canvas
Virtual Collection: Original CCCA
Untitled 39 (In the Absence of Horses)
Work ID: 79873
Description:
In the Absence of Horses [2000-2008]
In The Absence of Horses is a series of one hundred small encaustic paintings based on images of horses. The series evolved out of a single initial image – a black horse rolling on its back after a long ride, hooves akimbo. So little a part of most peoples’ daily lives, horses retain an iconic and ubiquitous presence in the media. In many ways horses have all but disappeared from our culture except as emblematic entities inhabiting the contemporary psyche.
Where are the horses really? Still used in cattle ranching and in policing – a holdover role, now almost purely symbolic, horses are largely relegated to sports and entertainment roles in Western societies. They are in the rodeo, in circuses, in horse shows, at the races, on television, in movies, in songs, in poems – and in art. From Homer to Remington to Bruce Nauman and Maurizio Cattelan’s, The Ballad of Trotsky, a beautiful taxidermed horse slung from the ceiling which recently sold at Sotheby's for $2 million. The Kentucky Derby is always front page news – think, “Smarty Jones, the little horse that could”. Tony Soprano loved a horse. This body of work is informed by the writings of the late American philosopher, poet and animal trainer Vicki Hearne, who speculated on the moral life of domestic animals, their lives in concert with humans and her profound belief that pets possess courage, wisdom and intellect. The title, In the Absence of Horses is taken from the title of a book and a poem by the late Ms Hearne. The poem touches on love and loss and the power of language and concludes with the line, “Here, in the grass, are horses.”
Tim Schouten - December 2004
Measurements: 22.86 x 30.48 cm
Collection:
Date Made: 2002
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Untitled 55 (In the Absence of Horses)
Work ID: 79876
Description:
In the Absence of Horses [2000-2008]
In The Absence of Horses is a series of one hundred small encaustic paintings based on images of horses. The series evolved out of a single initial image – a black horse rolling on its back after a long ride, hooves akimbo. So little a part of most peoples’ daily lives, horses retain an iconic and ubiquitous presence in the media. In many ways horses have all but disappeared from our culture except as emblematic entities inhabiting the contemporary psyche.
Where are the horses really? Still used in cattle ranching and in policing – a holdover role, now almost purely symbolic, horses are largely relegated to sports and entertainment roles in Western societies. They are in the rodeo, in circuses, in horse shows, at the races, on television, in movies, in songs, in poems – and in art. From Homer to Remington to Bruce Nauman and Maurizio Cattelan’s, The Ballad of Trotsky, a beautiful taxidermed horse slung from the ceiling which recently sold at Sotheby's for $2 million. The Kentucky Derby is always front page news – think, “Smarty Jones, the little horse that could”. Tony Soprano loved a horse. This body of work is informed by the writings of the late American philosopher, poet and animal trainer Vicki Hearne, who speculated on the moral life of domestic animals, their lives in concert with humans and her profound belief that pets possess courage, wisdom and intellect. The title, In the Absence of Horses is taken from the title of a book and a poem by the late Ms Hearne. The poem touches on love and loss and the power of language and concludes with the line, “Here, in the grass, are horses.”
Tim Schouten - December 2004
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2002
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Untitled 41 (In the Absence of Horses)
Work ID: 79875
Description:
In the Absence of Horses [2000-2008]
In The Absence of Horses is a series of one hundred small encaustic paintings based on images of horses. The series evolved out of a single initial image – a black horse rolling on its back after a long ride, hooves akimbo. So little a part of most peoples’ daily lives, horses retain an iconic and ubiquitous presence in the media. In many ways horses have all but disappeared from our culture except as emblematic entities inhabiting the contemporary psyche.
Where are the horses really? Still used in cattle ranching and in policing – a holdover role, now almost purely symbolic, horses are largely relegated to sports and entertainment roles in Western societies. They are in the rodeo, in circuses, in horse shows, at the races, on television, in movies, in songs, in poems – and in art. From Homer to Remington to Bruce Nauman and Maurizio Cattelan’s, The Ballad of Trotsky, a beautiful taxidermed horse slung from the ceiling which recently sold at Sotheby's for $2 million. The Kentucky Derby is always front page news – think, “Smarty Jones, the little horse that could”. Tony Soprano loved a horse. This body of work is informed by the writings of the late American philosopher, poet and animal trainer Vicki Hearne, who speculated on the moral life of domestic animals, their lives in concert with humans and her profound belief that pets possess courage, wisdom and intellect. The title, In the Absence of Horses is taken from the title of a book and a poem by the late Ms Hearne. The poem touches on love and loss and the power of language and concludes with the line, “Here, in the grass, are horses.”
Tim Schouten - December 2004
Measurements: 22.86 x 30.48 cm
Collection:
Date Made: 2002
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Untitled 40 (In the Absence of Horses)
Work ID: 79874
Description:
In the Absence of Horses [2000-2008]
In The Absence of Horses is a series of one hundred small encaustic paintings based on images of horses. The series evolved out of a single initial image – a black horse rolling on its back after a long ride, hooves akimbo. So little a part of most peoples’ daily lives, horses retain an iconic and ubiquitous presence in the media. In many ways horses have all but disappeared from our culture except as emblematic entities inhabiting the contemporary psyche.
Where are the horses really? Still used in cattle ranching and in policing – a holdover role, now almost purely symbolic, horses are largely relegated to sports and entertainment roles in Western societies. They are in the rodeo, in circuses, in horse shows, at the races, on television, in movies, in songs, in poems – and in art. From Homer to Remington to Bruce Nauman and Maurizio Cattelan’s, The Ballad of Trotsky, a beautiful taxidermed horse slung from the ceiling which recently sold at Sotheby's for $2 million. The Kentucky Derby is always front page news – think, “Smarty Jones, the little horse that could”. Tony Soprano loved a horse. This body of work is informed by the writings of the late American philosopher, poet and animal trainer Vicki Hearne, who speculated on the moral life of domestic animals, their lives in concert with humans and her profound belief that pets possess courage, wisdom and intellect. The title, In the Absence of Horses is taken from the title of a book and a poem by the late Ms Hearne. The poem touches on love and loss and the power of language and concludes with the line, “Here, in the grass, are horses.”
Tim Schouten - December 2004
Measurements: 22.86 x 30.48 cm
Collection:
Date Made: 2002
Materials: oil, pigment, gold leaf, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Toto Circling
Work ID: 79859
Description: Dogs.
Measurements: 18.415 x 13.335 cm
Collection:
Date Made: 2003
Materials: oil, microcrystalline wax on plywood
Virtual Collection: Original CCCA
Untitled 64 (In the Absence of Horses)
Work ID: 79878
Description:
In the Absence of Horses [2000-2008]
In The Absence of Horses is a series of one hundred small encaustic paintings based on images of horses. The series evolved out of a single initial image – a black horse rolling on its back after a long ride, hooves akimbo. So little a part of most peoples’ daily lives, horses retain an iconic and ubiquitous presence in the media. In many ways horses have all but disappeared from our culture except as emblematic entities inhabiting the contemporary psyche.
Where are the horses really? Still used in cattle ranching and in policing – a holdover role, now almost purely symbolic, horses are largely relegated to sports and entertainment roles in Western societies. They are in the rodeo, in circuses, in horse shows, at the races, on television, in movies, in songs, in poems – and in art. From Homer to Remington to Bruce Nauman and Maurizio Cattelan’s, The Ballad of Trotsky, a beautiful taxidermed horse slung from the ceiling which recently sold at Sotheby's for $2 million. The Kentucky Derby is always front page news – think, “Smarty Jones, the little horse that could”. Tony Soprano loved a horse. This body of work is informed by the writings of the late American philosopher, poet and animal trainer Vicki Hearne, who speculated on the moral life of domestic animals, their lives in concert with humans and her profound belief that pets possess courage, wisdom and intellect. The title, In the Absence of Horses is taken from the title of a book and a poem by the late Ms Hearne. The poem touches on love and loss and the power of language and concludes with the line, “Here, in the grass, are horses.”
Tim Schouten - December 2004
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2003
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
IR #12 (Bloodvein, Treaty 5)
Work ID: 79852
Description: Markers
The title of the series refers to the way ‘poles’ demarcate the landscape. The dates in the titles refer to the timestamp in the camera when the source photo for each work was taken.
Measurements: 106.68 x 121.92 cm
Collection:
Date Made: 2003
Materials: oil on canvas
Virtual Collection: Original CCCA
Toto Dog
Work ID: 79857
Description: Dogs.
Measurements: 18.415 x 13.335 cm
Collection:
Date Made: 2003
Materials: oil, microcrystalline wax on plywood
Virtual Collection: Original CCCA
Untitled 57 (In the Absence of Horses)
Work ID: 79877
Description:
In the Absence of Horses [2000-2008]
In The Absence of Horses is a series of one hundred small encaustic paintings based on images of horses. The series evolved out of a single initial image – a black horse rolling on its back after a long ride, hooves akimbo. So little a part of most peoples’ daily lives, horses retain an iconic and ubiquitous presence in the media. In many ways horses have all but disappeared from our culture except as emblematic entities inhabiting the contemporary psyche.
Where are the horses really? Still used in cattle ranching and in policing – a holdover role, now almost purely symbolic, horses are largely relegated to sports and entertainment roles in Western societies. They are in the rodeo, in circuses, in horse shows, at the races, on television, in movies, in songs, in poems – and in art. From Homer to Remington to Bruce Nauman and Maurizio Cattelan’s, The Ballad of Trotsky, a beautiful taxidermed horse slung from the ceiling which recently sold at Sotheby's for $2 million. The Kentucky Derby is always front page news – think, “Smarty Jones, the little horse that could”. Tony Soprano loved a horse. This body of work is informed by the writings of the late American philosopher, poet and animal trainer Vicki Hearne, who speculated on the moral life of domestic animals, their lives in concert with humans and her profound belief that pets possess courage, wisdom and intellect. The title, In the Absence of Horses is taken from the title of a book and a poem by the late Ms Hearne. The poem touches on love and loss and the power of language and concludes with the line, “Here, in the grass, are horses.”
Tim Schouten - December 2004
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2003
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
3:40 p.m., August 9, 2001 (Treaty 1)
Work ID: 79853
Description: Markers
The title of the series refers to the way ‘poles’ demarcate the landscape. The dates in the titles refer to the timestamp in the camera when the source photo for each work was taken.
Measurements: 60.96 x 76.2 cm
Collection:
Date Made: 2003
Materials: oil on canvas
Virtual Collection: Original CCCA
Untitled 67 (In the Absence of Horses)
Work ID: 79879
Description:
In the Absence of Horses [2000-2008]
In The Absence of Horses is a series of one hundred small encaustic paintings based on images of horses. The series evolved out of a single initial image – a black horse rolling on its back after a long ride, hooves akimbo. So little a part of most peoples’ daily lives, horses retain an iconic and ubiquitous presence in the media. In many ways horses have all but disappeared from our culture except as emblematic entities inhabiting the contemporary psyche.
Where are the horses really? Still used in cattle ranching and in policing – a holdover role, now almost purely symbolic, horses are largely relegated to sports and entertainment roles in Western societies. They are in the rodeo, in circuses, in horse shows, at the races, on television, in movies, in songs, in poems – and in art. From Homer to Remington to Bruce Nauman and Maurizio Cattelan’s, The Ballad of Trotsky, a beautiful taxidermed horse slung from the ceiling which recently sold at Sotheby's for $2 million. The Kentucky Derby is always front page news – think, “Smarty Jones, the little horse that could”. Tony Soprano loved a horse. This body of work is informed by the writings of the late American philosopher, poet and animal trainer Vicki Hearne, who speculated on the moral life of domestic animals, their lives in concert with humans and her profound belief that pets possess courage, wisdom and intellect. The title, In the Absence of Horses is taken from the title of a book and a poem by the late Ms Hearne. The poem touches on love and loss and the power of language and concludes with the line, “Here, in the grass, are horses.”
Tim Schouten - December 2004
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2003
Materials: oil, microcrystalline wax on canvas
Virtual Collection: Original CCCA
2:20 p.m., March 9, 2001 (Treaty 5)
Work ID: 79855
Description: Markers
The title of the series refers to the way ‘poles’ demarcate the landscape. The dates in the titles refer to the timestamp in the camera when the source photo for each work was taken.
Measurements: 60.96 x 76.2 cm
Collection:
Date Made: 2003
Materials: oil on canvas
Virtual Collection: Original CCCA
Cat Dog
Work ID: 79858
Description: Dogs.
Measurements: 18.415 x 13.335 cm
Collection:
Date Made: 2003
Materials: oil, microcrystalline wax on plywood
Virtual Collection: Original CCCA
7:30 p.m., August 9, 2001 (Treaty 1)
Work ID: 79854
Description: Markers
The title of the series refers to the way ‘poles’ demarcate the landscape. The dates in the titles refer to the timestamp in the camera when the source photo for each work was taken.
Measurements: 60.96 x 76.2 cm
Collection:
Date Made: 2003
Materials: oil on canvas
Virtual Collection: Original CCCA
No Trespassing: Indian Country (Treaty 7)
Work ID: 79850
Description: Markers
The title of the series refers to the way ‘poles’ demarcate the landscape. The dates in the titles refer to the timestamp in the camera when the source photo for each work was taken.
Measurements: 60.96 x 71.12 cm
Collection:
Date Made: 2003
Materials: oil on canvas
Virtual Collection: Original CCCA
Daisy Dog
Work ID: 79856
Description: Dogs.
Measurements: 18.415 x 13.335 cm
Collection:
Date Made: 2003
Materials: oil, microcrystalline wax on plywood
Virtual Collection: Original CCCA
5:20 p.m., August 9, 2001 (Treaty 1)
Work ID: 79851
Description: Markers
The title of the series refers to the way ‘poles’ demarcate the landscape. The dates in the titles refer to the timestamp in the camera when the source photo for each work was taken.
Measurements: 60.96 x 76.2 cm
Collection:
Date Made: 2003
Materials: oil on canvas
Virtual Collection: Original CCCA
Tourist (Treaty 1)
Work ID: 79747
Description:
The Treaty 1 Suite [2004]
While attending a "Treaty Implementation Gathering" organized by Manitoba's Southern Chiefs Organization, I grew impatient with the political posturing and lack of substance in most of the speeches from presenters to the small crowd which had showed up for the two day event at Lower Fort Garry. The sparse turnout was itself disheartening and that there might be some serious and useful discussion around the process of reviewing the Treaties with an eye to "implementation" seemed unlikely. I seemed to be the sole non-aboriginal participant at the gathering and I acknowledge that quite possibly, my cultural baggage blinded me to aspects of the proceedings.
No one seemed much interested in the actual document which was signed in 1871. I wondered how many had actually read it and thought about its meaning and implications. Many speakers referred to "our Treaties" - as if they belonged solely to the First Nations signatories. I have tried to think about whether these treaties are also my treaties. Certainly they were signed by my ancestors (Euro-Canadians) as well as by their ancestors (Cree, Ojibwa, Saulteaux, etc.). I truly believe that MY world would be a better place if historical and current inequities can be resolved around the negotiation of the Treaties and their failure to foster just, equal, mutually satisfying relationships between Euro-Canadians and First Nations. Maybe resolution is impossible.
As I have said, I had grown bored by the posturing and wandered off in search of more substantial "meaning". It was here, at Lower Fort Gary (the Stone Fort), a former British post, now a typically bland historic tourist attraction, that the first of Canada's eleven numbered treaties was signed between "Her Majesty the Queen" and the "Chippewa and Cree Indians of Manitoba and Country Adjacent". Inquiring of a docent the exact location where the Treaty had been signed, I was directed to a plaque on the wall outside the west gate of the fort which commemorates the event. Later research led me to documents which outlined the gathering of over a thousand Indians from many tribes for five days of negotiations with representatives of the Crown and the eventual signing of the document.
A gravel parking lot, mowed lawns, a few clumps of trees and a highway now stand where from June 27 to August 3, 1871, a one thousand strong encampment of First Nations talked for long days and into the nights to try to preserve a peaceable future for their children. These paintings, based on video images of the area immediately outside the gate try to find and hold a sense of the spirit of that time.
Using the fast, immediate medium of encaustic the pictures are a minimally embellished distillation of my sense of being an outsider at this gathering. The paintings attempt to image some of the sounds and sights of an earlier gathering which may or may not still linger in the breezes moving through the trees.
The surface of the pictures is left unrefined, with raw canvas and drawing marks visible to avoid "over-writing" immediate, visceral impressions left by a fast hot brush. Later burnings-in fix the image at this pre-analytic state.
Tim Schouten - July 2004
Measurements: 91.44 x 101.6 cm
Collection:
Date Made: 2004
Materials: oil, microcrystalline wax on canvas
Virtual Collection: Original CCCA
Coming Ashore (Treaty 2)
Work ID: 79751
Description:
The Treaty 2 Suite (Where IS Treaty Land?) [2004]
The Treaty 2 Suite (Where IS Treaty Land?) comprises fifteen encaustic paintings based mostly on photographs taken in the vicinity of the ruins of Manitoba House, a former HBC trading post near The Narrows of Lake Manitoba. Manitoba House was recreated on it’s original site on the shore of Lake Manitoba in 1974 by a local Métis group, but that recreation has itself now fallen to ruin. Treaty 2 was negotiated and signed here in 1871 two weeks after the signing of Treaty No. 1. From what I have been able to learn, the discussion of the terms of this treaty were very short, with the terms of Treaty No. 1 being quickly accepted by the bands who gathered at Manitoba House to meet with the treaty party.
Under the written terms of Treaty No. 2, the aboriginal signatories who are identified as "Chippewa", ceded an area three times larger than the territories ceded by "the Chippewa and Swampy Cree" under Treaty No. 1. These territories, to quote from a letter written by one of the treaty commissioners comprised 55,000 sqare miles of “... territory good for farming , settling, etc....” , across much of central Manitoba and a portion of southern Saskatchewan. Several pictures in the suite are also based on photos taken on the Ebb and Flow First Nation (the first reserve surveyed following treaty) and at the fork of the Little Saskatchewan and Assiniboine Rivers near Brandon, Manitoba on the boundary between Treaty 1 and Treaty 2 territories.
It is impossible for me to speak about the land entirely outside of political or historical contexts. In most cases, my paintings are based on photos of rather unspectacular locales. I attempt in the paintings, to convey the idea that history can have a felt presence in a place. The paintings acknowledge the beauty of the land but they are essentially about place and history and the ways that image and surface can indicate meaning.
Tim Schouten - November 9, 2004
Collection:
Date Made: 2004
Materials: oil, microcrystalline wax on canvas
Virtual Collection: Original CCCA
Reserved (Treaty 1)
Work ID: 79742
Description:
The Treaty 1 Suite [2004]
While attending a "Treaty Implementation Gathering" organized by Manitoba's Southern Chiefs Organization, I grew impatient with the political posturing and lack of substance in most of the speeches from presenters to the small crowd which had showed up for the two day event at Lower Fort Garry. The sparse turnout was itself disheartening and that there might be some serious and useful discussion around the process of reviewing the Treaties with an eye to "implementation" seemed unlikely. I seemed to be the sole non-aboriginal participant at the gathering and I acknowledge that quite possibly, my cultural baggage blinded me to aspects of the proceedings.
No one seemed much interested in the actual document which was signed in 1871. I wondered how many had actually read it and thought about its meaning and implications. Many speakers referred to "our Treaties" - as if they belonged solely to the First Nations signatories. I have tried to think about whether these treaties are also my treaties. Certainly they were signed by my ancestors (Euro-Canadians) as well as by their ancestors (Cree, Ojibwa, Saulteaux, etc.). I truly believe that MY world would be a better place if historical and current inequities can be resolved around the negotiation of the Treaties and their failure to foster just, equal, mutually satisfying relationships between Euro-Canadians and First Nations. Maybe resolution is impossible.
As I have said, I had grown bored by the posturing and wandered off in search of more substantial "meaning". It was here, at Lower Fort Gary (the Stone Fort), a former British post, now a typically bland historic tourist attraction, that the first of Canada's eleven numbered treaties was signed between "Her Majesty the Queen" and the "Chippewa and Cree Indians of Manitoba and Country Adjacent". Inquiring of a docent the exact location where the Treaty had been signed, I was directed to a plaque on the wall outside the west gate of the fort which commemorates the event. Later research led me to documents which outlined the gathering of over a thousand Indians from many tribes for five days of negotiations with representatives of the Crown and the eventual signing of the document.
A gravel parking lot, mowed lawns, a few clumps of trees and a highway now stand where from June 27 to August 3, 1871, a one thousand strong encampment of First Nations talked for long days and into the nights to try to preserve a peaceable future for their children. These paintings, based on video images of the area immediately outside the gate try to find and hold a sense of the spirit of that time.
Using the fast, immediate medium of encaustic the pictures are a minimally embellished distillation of my sense of being an outsider at this gathering. The paintings attempt to image some of the sounds and sights of an earlier gathering which may or may not still linger in the breezes moving through the trees.
The surface of the pictures is left unrefined, with raw canvas and drawing marks visible to avoid "over-writing" immediate, visceral impressions left by a fast hot brush. Later burnings-in fix the image at this pre-analytic state.
Tim Schouten - July 2004
Measurements: 91.44 x 101.6 cm
Collection:
Date Made: 2004
Materials: oil, microcrystalline wax on canvas
Virtual Collection: Original CCCA
Bridge (Treaties 1 & 2)
Work ID: 79750
Description:
The Treaty 2 Suite (Where IS Treaty Land?) [2004]
The Treaty 2 Suite (Where IS Treaty Land?) comprises fifteen encaustic paintings based mostly on photographs taken in the vicinity of the ruins of Manitoba House, a former HBC trading post near The Narrows of Lake Manitoba. Manitoba House was recreated on it’s original site on the shore of Lake Manitoba in 1974 by a local Métis group, but that recreation has itself now fallen to ruin. Treaty 2 was negotiated and signed here in 1871 two weeks after the signing of Treaty No. 1. From what I have been able to learn, the discussion of the terms of this treaty were very short, with the terms of Treaty No. 1 being quickly accepted by the bands who gathered at Manitoba House to meet with the treaty party.
Under the written terms of Treaty No. 2, the aboriginal signatories who are identified as "Chippewa", ceded an area three times larger than the territories ceded by "the Chippewa and Swampy Cree" under Treaty No. 1. These territories, to quote from a letter written by one of the treaty commissioners comprised 55,000 sqare miles of “... territory good for farming , settling, etc....” , across much of central Manitoba and a portion of southern Saskatchewan. Several pictures in the suite are also based on photos taken on the Ebb and Flow First Nation (the first reserve surveyed following treaty) and at the fork of the Little Saskatchewan and Assiniboine Rivers near Brandon, Manitoba on the boundary between Treaty 1 and Treaty 2 territories.
It is impossible for me to speak about the land entirely outside of political or historical contexts. In most cases, my paintings are based on photos of rather unspectacular locales. I attempt in the paintings, to convey the idea that history can have a felt presence in a place. The paintings acknowledge the beauty of the land but they are essentially about place and history and the ways that image and surface can indicate meaning.
Tim Schouten - November 9, 2004
Collection:
Date Made: 2004
Materials: oil, microcrystalline wax on canvas
Virtual Collection: Original CCCA
Outside the Stone Fort (Treaty 1)
Work ID: 79741
Description:
The Treaty 1 Suite [2004]
While attending a "Treaty Implementation Gathering" organized by Manitoba's Southern Chiefs Organization, I grew impatient with the political posturing and lack of substance in most of the speeches from presenters to the small crowd which had showed up for the two day event at Lower Fort Garry. The sparse turnout was itself disheartening and that there might be some serious and useful discussion around the process of reviewing the Treaties with an eye to "implementation" seemed unlikely. I seemed to be the sole non-aboriginal participant at the gathering and I acknowledge that quite possibly, my cultural baggage blinded me to aspects of the proceedings.
No one seemed much interested in the actual document which was signed in 1871. I wondered how many had actually read it and thought about its meaning and implications. Many speakers referred to "our Treaties" - as if they belonged solely to the First Nations signatories. I have tried to think about whether these treaties are also my treaties. Certainly they were signed by my ancestors (Euro-Canadians) as well as by their ancestors (Cree, Ojibwa, Saulteaux, etc.). I truly believe that MY world would be a better place if historical and current inequities can be resolved around the negotiation of the Treaties and their failure to foster just, equal, mutually satisfying relationships between Euro-Canadians and First Nations. Maybe resolution is impossible.
As I have said, I had grown bored by the posturing and wandered off in search of more substantial "meaning". It was here, at Lower Fort Gary (the Stone Fort), a former British post, now a typically bland historic tourist attraction, that the first of Canada's eleven numbered treaties was signed between "Her Majesty the Queen" and the "Chippewa and Cree Indians of Manitoba and Country Adjacent". Inquiring of a docent the exact location where the Treaty had been signed, I was directed to a plaque on the wall outside the west gate of the fort which commemorates the event. Later research led me to documents which outlined the gathering of over a thousand Indians from many tribes for five days of negotiations with representatives of the Crown and the eventual signing of the document.
A gravel parking lot, mowed lawns, a few clumps of trees and a highway now stand where from June 27 to August 3, 1871, a one thousand strong encampment of First Nations talked for long days and into the nights to try to preserve a peaceable future for their children. These paintings, based on video images of the area immediately outside the gate try to find and hold a sense of the spirit of that time.
Using the fast, immediate medium of encaustic the pictures are a minimally embellished distillation of my sense of being an outsider at this gathering. The paintings attempt to image some of the sounds and sights of an earlier gathering which may or may not still linger in the breezes moving through the trees.
The surface of the pictures is left unrefined, with raw canvas and drawing marks visible to avoid "over-writing" immediate, visceral impressions left by a fast hot brush. Later burnings-in fix the image at this pre-analytic state.
Tim Schouten - July 2004
Measurements: 60.96 x 71.12 cm
Collection:
Date Made: 2004
Materials: oil, microcrystalline wax on canvas
Virtual Collection: Original CCCA
River Path (Treaty 1)
Work ID: 79744
Description:
The Treaty 1 Suite [2004]
While attending a "Treaty Implementation Gathering" organized by Manitoba's Southern Chiefs Organization, I grew impatient with the political posturing and lack of substance in most of the speeches from presenters to the small crowd which had showed up for the two day event at Lower Fort Garry. The sparse turnout was itself disheartening and that there might be some serious and useful discussion around the process of reviewing the Treaties with an eye to "implementation" seemed unlikely. I seemed to be the sole non-aboriginal participant at the gathering and I acknowledge that quite possibly, my cultural baggage blinded me to aspects of the proceedings.
No one seemed much interested in the actual document which was signed in 1871. I wondered how many had actually read it and thought about its meaning and implications. Many speakers referred to "our Treaties" - as if they belonged solely to the First Nations signatories. I have tried to think about whether these treaties are also my treaties. Certainly they were signed by my ancestors (Euro-Canadians) as well as by their ancestors (Cree, Ojibwa, Saulteaux, etc.). I truly believe that MY world would be a better place if historical and current inequities can be resolved around the negotiation of the Treaties and their failure to foster just, equal, mutually satisfying relationships between Euro-Canadians and First Nations. Maybe resolution is impossible.
As I have said, I had grown bored by the posturing and wandered off in search of more substantial "meaning". It was here, at Lower Fort Gary (the Stone Fort), a former British post, now a typically bland historic tourist attraction, that the first of Canada's eleven numbered treaties was signed between "Her Majesty the Queen" and the "Chippewa and Cree Indians of Manitoba and Country Adjacent". Inquiring of a docent the exact location where the Treaty had been signed, I was directed to a plaque on the wall outside the west gate of the fort which commemorates the event. Later research led me to documents which outlined the gathering of over a thousand Indians from many tribes for five days of negotiations with representatives of the Crown and the eventual signing of the document.
A gravel parking lot, mowed lawns, a few clumps of trees and a highway now stand where from June 27 to August 3, 1871, a one thousand strong encampment of First Nations talked for long days and into the nights to try to preserve a peaceable future for their children. These paintings, based on video images of the area immediately outside the gate try to find and hold a sense of the spirit of that time.
Using the fast, immediate medium of encaustic the pictures are a minimally embellished distillation of my sense of being an outsider at this gathering. The paintings attempt to image some of the sounds and sights of an earlier gathering which may or may not still linger in the breezes moving through the trees.
The surface of the pictures is left unrefined, with raw canvas and drawing marks visible to avoid "over-writing" immediate, visceral impressions left by a fast hot brush. Later burnings-in fix the image at this pre-analytic state.
Tim Schouten - July 2004
Measurements: 91.44 x 101.6 cm
Collection:
Date Made: 2004
Materials: oil, microcrystalline wax on canvas
Virtual Collection: Original CCCA
Highway (Treaty 1)
Work ID: 79740
Description:
The Treaty 1 Suite [2004]
While attending a "Treaty Implementation Gathering" organized by Manitoba's Southern Chiefs Organization, I grew impatient with the political posturing and lack of substance in most of the speeches from presenters to the small crowd which had showed up for the two day event at Lower Fort Garry. The sparse turnout was itself disheartening and that there might be some serious and useful discussion around the process of reviewing the Treaties with an eye to "implementation" seemed unlikely. I seemed to be the sole non-aboriginal participant at the gathering and I acknowledge that quite possibly, my cultural baggage blinded me to aspects of the proceedings.
No one seemed much interested in the actual document which was signed in 1871. I wondered how many had actually read it and thought about its meaning and implications. Many speakers referred to "our Treaties" - as if they belonged solely to the First Nations signatories. I have tried to think about whether these treaties are also my treaties. Certainly they were signed by my ancestors (Euro-Canadians) as well as by their ancestors (Cree, Ojibwa, Saulteaux, etc.). I truly believe that MY world would be a better place if historical and current inequities can be resolved around the negotiation of the Treaties and their failure to foster just, equal, mutually satisfying relationships between Euro-Canadians and First Nations. Maybe resolution is impossible.
As I have said, I had grown bored by the posturing and wandered off in search of more substantial "meaning". It was here, at Lower Fort Gary (the Stone Fort), a former British post, now a typically bland historic tourist attraction, that the first of Canada's eleven numbered treaties was signed between "Her Majesty the Queen" and the "Chippewa and Cree Indians of Manitoba and Country Adjacent". Inquiring of a docent the exact location where the Treaty had been signed, I was directed to a plaque on the wall outside the west gate of the fort which commemorates the event. Later research led me to documents which outlined the gathering of over a thousand Indians from many tribes for five days of negotiations with representatives of the Crown and the eventual signing of the document.
A gravel parking lot, mowed lawns, a few clumps of trees and a highway now stand where from June 27 to August 3, 1871, a one thousand strong encampment of First Nations talked for long days and into the nights to try to preserve a peaceable future for their children. These paintings, based on video images of the area immediately outside the gate try to find and hold a sense of the spirit of that time.
Using the fast, immediate medium of encaustic the pictures are a minimally embellished distillation of my sense of being an outsider at this gathering. The paintings attempt to image some of the sounds and sights of an earlier gathering which may or may not still linger in the breezes moving through the trees.
The surface of the pictures is left unrefined, with raw canvas and drawing marks visible to avoid "over-writing" immediate, visceral impressions left by a fast hot brush. Later burnings-in fix the image at this pre-analytic state.
Tim Schouten - July 2004
Measurements: 60.96 x 71.12 cm
Collection:
Date Made: 2004
Materials: oil, microcrystalline wax on canvas
Virtual Collection: Original CCCA
Little Saskatchewan River/Gaawiikwedaawangaag (Treaties 1 & 2)
Work ID: 79754
Description:
The Treaty 2 Suite (Where IS Treaty Land?) [2004]
The Treaty 2 Suite (Where IS Treaty Land?) comprises fifteen encaustic paintings based mostly on photographs taken in the vicinity of the ruins of Manitoba House, a former HBC trading post near The Narrows of Lake Manitoba. Manitoba House was recreated on it’s original site on the shore of Lake Manitoba in 1974 by a local Métis group, but that recreation has itself now fallen to ruin. Treaty 2 was negotiated and signed here in 1871 two weeks after the signing of Treaty No. 1. From what I have been able to learn, the discussion of the terms of this treaty were very short, with the terms of Treaty No. 1 being quickly accepted by the bands who gathered at Manitoba House to meet with the treaty party.
Under the written terms of Treaty No. 2, the aboriginal signatories who are identified as "Chippewa", ceded an area three times larger than the territories ceded by "the Chippewa and Swampy Cree" under Treaty No. 1. These territories, to quote from a letter written by one of the treaty commissioners comprised 55,000 sqare miles of “... territory good for farming , settling, etc....” , across much of central Manitoba and a portion of southern Saskatchewan. Several pictures in the suite are also based on photos taken on the Ebb and Flow First Nation (the first reserve surveyed following treaty) and at the fork of the Little Saskatchewan and Assiniboine Rivers near Brandon, Manitoba on the boundary between Treaty 1 and Treaty 2 territories.
It is impossible for me to speak about the land entirely outside of political or historical contexts. In most cases, my paintings are based on photos of rather unspectacular locales. I attempt in the paintings, to convey the idea that history can have a felt presence in a place. The paintings acknowledge the beauty of the land but they are essentially about place and history and the ways that image and surface can indicate meaning.
Tim Schouten - November 9, 2004
Collection:
Date Made: 2004
Materials: oil, microcrystalline wax on canvas
Virtual Collection: Original CCCA
Sun Dogs (Treaty 1)
Work ID: 79746
Description:
The Treaty 1 Suite [2004]
While attending a "Treaty Implementation Gathering" organized by Manitoba's Southern Chiefs Organization, I grew impatient with the political posturing and lack of substance in most of the speeches from presenters to the small crowd which had showed up for the two day event at Lower Fort Garry. The sparse turnout was itself disheartening and that there might be some serious and useful discussion around the process of reviewing the Treaties with an eye to "implementation" seemed unlikely. I seemed to be the sole non-aboriginal participant at the gathering and I acknowledge that quite possibly, my cultural baggage blinded me to aspects of the proceedings.
No one seemed much interested in the actual document which was signed in 1871. I wondered how many had actually read it and thought about its meaning and implications. Many speakers referred to "our Treaties" - as if they belonged solely to the First Nations signatories. I have tried to think about whether these treaties are also my treaties. Certainly they were signed by my ancestors (Euro-Canadians) as well as by their ancestors (Cree, Ojibwa, Saulteaux, etc.). I truly believe that MY world would be a better place if historical and current inequities can be resolved around the negotiation of the Treaties and their failure to foster just, equal, mutually satisfying relationships between Euro-Canadians and First Nations. Maybe resolution is impossible.
As I have said, I had grown bored by the posturing and wandered off in search of more substantial "meaning". It was here, at Lower Fort Gary (the Stone Fort), a former British post, now a typically bland historic tourist attraction, that the first of Canada's eleven numbered treaties was signed between "Her Majesty the Queen" and the "Chippewa and Cree Indians of Manitoba and Country Adjacent". Inquiring of a docent the exact location where the Treaty had been signed, I was directed to a plaque on the wall outside the west gate of the fort which commemorates the event. Later research led me to documents which outlined the gathering of over a thousand Indians from many tribes for five days of negotiations with representatives of the Crown and the eventual signing of the document.
A gravel parking lot, mowed lawns, a few clumps of trees and a highway now stand where from June 27 to August 3, 1871, a one thousand strong encampment of First Nations talked for long days and into the nights to try to preserve a peaceable future for their children. These paintings, based on video images of the area immediately outside the gate try to find and hold a sense of the spirit of that time.
Using the fast, immediate medium of encaustic the pictures are a minimally embellished distillation of my sense of being an outsider at this gathering. The paintings attempt to image some of the sounds and sights of an earlier gathering which may or may not still linger in the breezes moving through the trees.
The surface of the pictures is left unrefined, with raw canvas and drawing marks visible to avoid "over-writing" immediate, visceral impressions left by a fast hot brush. Later burnings-in fix the image at this pre-analytic state.
Tim Schouten - July 2004
Measurements: 101.6 x 106.68 cm
Collection:
Date Made: 2004
Materials: oil, microcrystalline wax on canvas
Virtual Collection: Original CCCA
Lot 19, Kinosota (Treaty 2)
Work ID: 79753
Description:
The Treaty 2 Suite (Where IS Treaty Land?) [2004]
The Treaty 2 Suite (Where IS Treaty Land?) comprises fifteen encaustic paintings based mostly on photographs taken in the vicinity of the ruins of Manitoba House, a former HBC trading post near The Narrows of Lake Manitoba. Manitoba House was recreated on it’s original site on the shore of Lake Manitoba in 1974 by a local Métis group, but that recreation has itself now fallen to ruin. Treaty 2 was negotiated and signed here in 1871 two weeks after the signing of Treaty No. 1. From what I have been able to learn, the discussion of the terms of this treaty were very short, with the terms of Treaty No. 1 being quickly accepted by the bands who gathered at Manitoba House to meet with the treaty party.
Under the written terms of Treaty No. 2, the aboriginal signatories who are identified as "Chippewa", ceded an area three times larger than the territories ceded by "the Chippewa and Swampy Cree" under Treaty No. 1. These territories, to quote from a letter written by one of the treaty commissioners comprised 55,000 sqare miles of “... territory good for farming , settling, etc....” , across much of central Manitoba and a portion of southern Saskatchewan. Several pictures in the suite are also based on photos taken on the Ebb and Flow First Nation (the first reserve surveyed following treaty) and at the fork of the Little Saskatchewan and Assiniboine Rivers near Brandon, Manitoba on the boundary between Treaty 1 and Treaty 2 territories.
It is impossible for me to speak about the land entirely outside of political or historical contexts. In most cases, my paintings are based on photos of rather unspectacular locales. I attempt in the paintings, to convey the idea that history can have a felt presence in a place. The paintings acknowledge the beauty of the land but they are essentially about place and history and the ways that image and surface can indicate meaning.
Tim Schouten - November 9, 2004
Collection:
Date Made: 2004
Materials: oil, microcrystalline wax on canvas
Virtual Collection: Original CCCA
Facing North (Treaty1)
Work ID: 79739
Description:
The Treaty 1 Suite [2004]
While attending a "Treaty Implementation Gathering" organized by Manitoba's Southern Chiefs Organization, I grew impatient with the political posturing and lack of substance in most of the speeches from presenters to the small crowd which had showed up for the two day event at Lower Fort Garry. The sparse turnout was itself disheartening and that there might be some serious and useful discussion around the process of reviewing the Treaties with an eye to "implementation" seemed unlikely. I seemed to be the sole non-aboriginal participant at the gathering and I acknowledge that quite possibly, my cultural baggage blinded me to aspects of the proceedings.
No one seemed much interested in the actual document which was signed in 1871. I wondered how many had actually read it and thought about its meaning and implications. Many speakers referred to "our Treaties" - as if they belonged solely to the First Nations signatories. I have tried to think about whether these treaties are also my treaties. Certainly they were signed by my ancestors (Euro-Canadians) as well as by their ancestors (Cree, Ojibwa, Saulteaux, etc.). I truly believe that MY world would be a better place if historical and current inequities can be resolved around the negotiation of the Treaties and their failure to foster just, equal, mutually satisfying relationships between Euro-Canadians and First Nations. Maybe resolution is impossible.
As I have said, I had grown bored by the posturing and wandered off in search of more substantial "meaning". It was here, at Lower Fort Gary (the Stone Fort), a former British post, now a typically bland historic tourist attraction, that the first of Canada's eleven numbered treaties was signed between "Her Majesty the Queen" and the "Chippewa and Cree Indians of Manitoba and Country Adjacent". Inquiring of a docent the exact location where the Treaty had been signed, I was directed to a plaque on the wall outside the west gate of the fort which commemorates the event. Later research led me to documents which outlined the gathering of over a thousand Indians from many tribes for five days of negotiations with representatives of the Crown and the eventual signing of the document.
A gravel parking lot, mowed lawns, a few clumps of trees and a highway now stand where from June 27 to August 3, 1871, a one thousand strong encampment of First Nations talked for long days and into the nights to try to preserve a peaceable future for their children. These paintings, based on video images of the area immediately outside the gate try to find and hold a sense of the spirit of that time.
Using the fast, immediate medium of encaustic the pictures are a minimally embellished distillation of my sense of being an outsider at this gathering. The paintings attempt to image some of the sounds and sights of an earlier gathering which may or may not still linger in the breezes moving through the trees.
The surface of the pictures is left unrefined, with raw canvas and drawing marks visible to avoid "over-writing" immediate, visceral impressions left by a fast hot brush. Later burnings-in fix the image at this pre-analytic state.
Tim Schouten - July 2004
Measurements: 60.96 x 71.12 cm
Collection:
Date Made: 2004
Materials: oil, microcrystalline wax on canvas
Virtual Collection: Original CCCA
Red Sash (Treaty 1)
Work ID: 79743
Description:
The Treaty 1 Suite [2004]
While attending a "Treaty Implementation Gathering" organized by Manitoba's Southern Chiefs Organization, I grew impatient with the political posturing and lack of substance in most of the speeches from presenters to the small crowd which had showed up for the two day event at Lower Fort Garry. The sparse turnout was itself disheartening and that there might be some serious and useful discussion around the process of reviewing the Treaties with an eye to "implementation" seemed unlikely. I seemed to be the sole non-aboriginal participant at the gathering and I acknowledge that quite possibly, my cultural baggage blinded me to aspects of the proceedings.
No one seemed much interested in the actual document which was signed in 1871. I wondered how many had actually read it and thought about its meaning and implications. Many speakers referred to "our Treaties" - as if they belonged solely to the First Nations signatories. I have tried to think about whether these treaties are also my treaties. Certainly they were signed by my ancestors (Euro-Canadians) as well as by their ancestors (Cree, Ojibwa, Saulteaux, etc.). I truly believe that MY world would be a better place if historical and current inequities can be resolved around the negotiation of the Treaties and their failure to foster just, equal, mutually satisfying relationships between Euro-Canadians and First Nations. Maybe resolution is impossible.
As I have said, I had grown bored by the posturing and wandered off in search of more substantial "meaning". It was here, at Lower Fort Gary (the Stone Fort), a former British post, now a typically bland historic tourist attraction, that the first of Canada's eleven numbered treaties was signed between "Her Majesty the Queen" and the "Chippewa and Cree Indians of Manitoba and Country Adjacent". Inquiring of a docent the exact location where the Treaty had been signed, I was directed to a plaque on the wall outside the west gate of the fort which commemorates the event. Later research led me to documents which outlined the gathering of over a thousand Indians from many tribes for five days of negotiations with representatives of the Crown and the eventual signing of the document.
A gravel parking lot, mowed lawns, a few clumps of trees and a highway now stand where from June 27 to August 3, 1871, a one thousand strong encampment of First Nations talked for long days and into the nights to try to preserve a peaceable future for their children. These paintings, based on video images of the area immediately outside the gate try to find and hold a sense of the spirit of that time.
Using the fast, immediate medium of encaustic the pictures are a minimally embellished distillation of my sense of being an outsider at this gathering. The paintings attempt to image some of the sounds and sights of an earlier gathering which may or may not still linger in the breezes moving through the trees.
The surface of the pictures is left unrefined, with raw canvas and drawing marks visible to avoid "over-writing" immediate, visceral impressions left by a fast hot brush. Later burnings-in fix the image at this pre-analytic state.
Tim Schouten - July 2004
Measurements: 60.96 x 71.12 cm
Collection:
Date Made: 2004
Materials: oil, microcrystalline wax on canvas
Virtual Collection: Original CCCA
Rail Yard, Brandon – Looking Westward (Treaty 1)
Work ID: 79749
Description:
The Treaty 2 Suite (Where IS Treaty Land?) [2004]
The Treaty 2 Suite (Where IS Treaty Land?) comprises fifteen encaustic paintings based mostly on photographs taken in the vicinity of the ruins of Manitoba House, a former HBC trading post near The Narrows of Lake Manitoba. Manitoba House was recreated on it’s original site on the shore of Lake Manitoba in 1974 by a local Métis group, but that recreation has itself now fallen to ruin. Treaty 2 was negotiated and signed here in 1871 two weeks after the signing of Treaty No. 1. From what I have been able to learn, the discussion of the terms of this treaty were very short, with the terms of Treaty No. 1 being quickly accepted by the bands who gathered at Manitoba House to meet with the treaty party.
Under the written terms of Treaty No. 2, the aboriginal signatories who are identified as "Chippewa", ceded an area three times larger than the territories ceded by "the Chippewa and Swampy Cree" under Treaty No. 1. These territories, to quote from a letter written by one of the treaty commissioners comprised 55,000 sqare miles of “... territory good for farming , settling, etc....” , across much of central Manitoba and a portion of southern Saskatchewan. Several pictures in the suite are also based on photos taken on the Ebb and Flow First Nation (the first reserve surveyed following treaty) and at the fork of the Little Saskatchewan and Assiniboine Rivers near Brandon, Manitoba on the boundary between Treaty 1 and Treaty 2 territories.
It is impossible for me to speak about the land entirely outside of political or historical contexts. In most cases, my paintings are based on photos of rather unspectacular locales. I attempt in the paintings, to convey the idea that history can have a felt presence in a place. The paintings acknowledge the beauty of the land but they are essentially about place and history and the ways that image and surface can indicate meaning.
Tim Schouten - November 9, 2004
Collection:
Date Made: 2004
Materials: oil, microcrystalline wax on canvas
Virtual Collection: Original CCCA
Wall and Turret (Treaty 1)
Work ID: 79748
Description:
The Treaty 1 Suite [2004]
While attending a "Treaty Implementation Gathering" organized by Manitoba's Southern Chiefs Organization, I grew impatient with the political posturing and lack of substance in most of the speeches from presenters to the small crowd which had showed up for the two day event at Lower Fort Garry. The sparse turnout was itself disheartening and that there might be some serious and useful discussion around the process of reviewing the Treaties with an eye to "implementation" seemed unlikely. I seemed to be the sole non-aboriginal participant at the gathering and I acknowledge that quite possibly, my cultural baggage blinded me to aspects of the proceedings.
No one seemed much interested in the actual document which was signed in 1871. I wondered how many had actually read it and thought about its meaning and implications. Many speakers referred to "our Treaties" - as if they belonged solely to the First Nations signatories. I have tried to think about whether these treaties are also my treaties. Certainly they were signed by my ancestors (Euro-Canadians) as well as by their ancestors (Cree, Ojibwa, Saulteaux, etc.). I truly believe that MY world would be a better place if historical and current inequities can be resolved around the negotiation of the Treaties and their failure to foster just, equal, mutually satisfying relationships between Euro-Canadians and First Nations. Maybe resolution is impossible.
As I have said, I had grown bored by the posturing and wandered off in search of more substantial "meaning". It was here, at Lower Fort Gary (the Stone Fort), a former British post, now a typically bland historic tourist attraction, that the first of Canada's eleven numbered treaties was signed between "Her Majesty the Queen" and the "Chippewa and Cree Indians of Manitoba and Country Adjacent". Inquiring of a docent the exact location where the Treaty had been signed, I was directed to a plaque on the wall outside the west gate of the fort which commemorates the event. Later research led me to documents which outlined the gathering of over a thousand Indians from many tribes for five days of negotiations with representatives of the Crown and the eventual signing of the document.
A gravel parking lot, mowed lawns, a few clumps of trees and a highway now stand where from June 27 to August 3, 1871, a one thousand strong encampment of First Nations talked for long days and into the nights to try to preserve a peaceable future for their children. These paintings, based on video images of the area immediately outside the gate try to find and hold a sense of the spirit of that time.
Using the fast, immediate medium of encaustic the pictures are a minimally embellished distillation of my sense of being an outsider at this gathering. The paintings attempt to image some of the sounds and sights of an earlier gathering which may or may not still linger in the breezes moving through the trees.
The surface of the pictures is left unrefined, with raw canvas and drawing marks visible to avoid "over-writing" immediate, visceral impressions left by a fast hot brush. Later burnings-in fix the image at this pre-analytic state.
Tim Schouten - July 2004
Measurements: 81.28 x 106.68 cm
Collection:
Date Made: 2004
Materials: oil, microcrystalline wax on canvas
Virtual Collection: Original CCCA
Studio Winter (Treaty 1)
Work ID: 79745
Description:
The Treaty 1 Suite [2004]
While attending a "Treaty Implementation Gathering" organized by Manitoba's Southern Chiefs Organization, I grew impatient with the political posturing and lack of substance in most of the speeches from presenters to the small crowd which had showed up for the two day event at Lower Fort Garry. The sparse turnout was itself disheartening and that there might be some serious and useful discussion around the process of reviewing the Treaties with an eye to "implementation" seemed unlikely. I seemed to be the sole non-aboriginal participant at the gathering and I acknowledge that quite possibly, my cultural baggage blinded me to aspects of the proceedings.
No one seemed much interested in the actual document which was signed in 1871. I wondered how many had actually read it and thought about its meaning and implications. Many speakers referred to "our Treaties" - as if they belonged solely to the First Nations signatories. I have tried to think about whether these treaties are also my treaties. Certainly they were signed by my ancestors (Euro-Canadians) as well as by their ancestors (Cree, Ojibwa, Saulteaux, etc.). I truly believe that MY world would be a better place if historical and current inequities can be resolved around the negotiation of the Treaties and their failure to foster just, equal, mutually satisfying relationships between Euro-Canadians and First Nations. Maybe resolution is impossible.
As I have said, I had grown bored by the posturing and wandered off in search of more substantial "meaning". It was here, at Lower Fort Gary (the Stone Fort), a former British post, now a typically bland historic tourist attraction, that the first of Canada's eleven numbered treaties was signed between "Her Majesty the Queen" and the "Chippewa and Cree Indians of Manitoba and Country Adjacent". Inquiring of a docent the exact location where the Treaty had been signed, I was directed to a plaque on the wall outside the west gate of the fort which commemorates the event. Later research led me to documents which outlined the gathering of over a thousand Indians from many tribes for five days of negotiations with representatives of the Crown and the eventual signing of the document.
A gravel parking lot, mowed lawns, a few clumps of trees and a highway now stand where from June 27 to August 3, 1871, a one thousand strong encampment of First Nations talked for long days and into the nights to try to preserve a peaceable future for their children. These paintings, based on video images of the area immediately outside the gate try to find and hold a sense of the spirit of that time.
Using the fast, immediate medium of encaustic the pictures are a minimally embellished distillation of my sense of being an outsider at this gathering. The paintings attempt to image some of the sounds and sights of an earlier gathering which may or may not still linger in the breezes moving through the trees.
The surface of the pictures is left unrefined, with raw canvas and drawing marks visible to avoid "over-writing" immediate, visceral impressions left by a fast hot brush. Later burnings-in fix the image at this pre-analytic state.
Tim Schouten - July 2004
Measurements: 91.44 x 121.92 cm
Collection:
Date Made: 2004
Materials: oil, microcrystalline wax on canvas
Virtual Collection: Original CCCA
Children’s Hour (for Caroline – Treaty 1)
Work ID: 79738
Description:
The Treaty 1 Suite [2004]
While attending a "Treaty Implementation Gathering" organized by Manitoba's Southern Chiefs Organization, I grew impatient with the political posturing and lack of substance in most of the speeches from presenters to the small crowd which had showed up for the two day event at Lower Fort Garry. The sparse turnout was itself disheartening and that there might be some serious and useful discussion around the process of reviewing the Treaties with an eye to "implementation" seemed unlikely. I seemed to be the sole non-aboriginal participant at the gathering and I acknowledge that quite possibly, my cultural baggage blinded me to aspects of the proceedings.
No one seemed much interested in the actual document which was signed in 1871. I wondered how many had actually read it and thought about its meaning and implications. Many speakers referred to "our Treaties" - as if they belonged solely to the First Nations signatories. I have tried to think about whether these treaties are also my treaties. Certainly they were signed by my ancestors (Euro-Canadians) as well as by their ancestors (Cree, Ojibwa, Saulteaux, etc.). I truly believe that MY world would be a better place if historical and current inequities can be resolved around the negotiation of the Treaties and their failure to foster just, equal, mutually satisfying relationships between Euro-Canadians and First Nations. Maybe resolution is impossible.
As I have said, I had grown bored by the posturing and wandered off in search of more substantial "meaning". It was here, at Lower Fort Gary (the Stone Fort), a former British post, now a typically bland historic tourist attraction, that the first of Canada's eleven numbered treaties was signed between "Her Majesty the Queen" and the "Chippewa and Cree Indians of Manitoba and Country Adjacent". Inquiring of a docent the exact location where the Treaty had been signed, I was directed to a plaque on the wall outside the west gate of the fort which commemorates the event. Later research led me to documents which outlined the gathering of over a thousand Indians from many tribes for five days of negotiations with representatives of the Crown and the eventual signing of the document.
A gravel parking lot, mowed lawns, a few clumps of trees and a highway now stand where from June 27 to August 3, 1871, a one thousand strong encampment of First Nations talked for long days and into the nights to try to preserve a peaceable future for their children. These paintings, based on video images of the area immediately outside the gate try to find and hold a sense of the spirit of that time.
Using the fast, immediate medium of encaustic the pictures are a minimally embellished distillation of my sense of being an outsider at this gathering. The paintings attempt to image some of the sounds and sights of an earlier gathering which may or may not still linger in the breezes moving through the trees.
The surface of the pictures is left unrefined, with raw canvas and drawing marks visible to avoid "over-writing" immediate, visceral impressions left by a fast hot brush. Later burnings-in fix the image at this pre-analytic state.
Tim Schouten - July 2004
Measurements: 81.28 x 91.44 cm
Collection:
Date Made: 2004
Materials: oil, microcrystalline wax on canvas
Virtual Collection: Original CCCA
The Storyteller (Treaty 2)
Work ID: 79752
Description:
The Treaty 2 Suite (Where IS Treaty Land?) [2004]
The Treaty 2 Suite (Where IS Treaty Land?) comprises fifteen encaustic paintings based mostly on photographs taken in the vicinity of the ruins of Manitoba House, a former HBC trading post near The Narrows of Lake Manitoba. Manitoba House was recreated on it’s original site on the shore of Lake Manitoba in 1974 by a local Métis group, but that recreation has itself now fallen to ruin. Treaty 2 was negotiated and signed here in 1871 two weeks after the signing of Treaty No. 1. From what I have been able to learn, the discussion of the terms of this treaty were very short, with the terms of Treaty No. 1 being quickly accepted by the bands who gathered at Manitoba House to meet with the treaty party.
Under the written terms of Treaty No. 2, the aboriginal signatories who are identified as "Chippewa", ceded an area three times larger than the territories ceded by "the Chippewa and Swampy Cree" under Treaty No. 1. These territories, to quote from a letter written by one of the treaty commissioners comprised 55,000 sqare miles of “... territory good for farming , settling, etc....” , across much of central Manitoba and a portion of southern Saskatchewan. Several pictures in the suite are also based on photos taken on the Ebb and Flow First Nation (the first reserve surveyed following treaty) and at the fork of the Little Saskatchewan and Assiniboine Rivers near Brandon, Manitoba on the boundary between Treaty 1 and Treaty 2 territories.
It is impossible for me to speak about the land entirely outside of political or historical contexts. In most cases, my paintings are based on photos of rather unspectacular locales. I attempt in the paintings, to convey the idea that history can have a felt presence in a place. The paintings acknowledge the beauty of the land but they are essentially about place and history and the ways that image and surface can indicate meaning.
Tim Schouten - November 9, 2004
Measurements: huile, cire microcristalline sur toile
Collection:
Date Made: 2004
Materials:
Virtual Collection: Original CCCA
Sugar Island (Treaty 2)
Work ID: 79755
Description:
The Treaty 2 Suite (Where IS Treaty Land?) [2004]
The Treaty 2 Suite (Where IS Treaty Land?) comprises fifteen encaustic paintings based mostly on photographs taken in the vicinity of the ruins of Manitoba House, a former HBC trading post near The Narrows of Lake Manitoba. Manitoba House was recreated on it’s original site on the shore of Lake Manitoba in 1974 by a local Métis group, but that recreation has itself now fallen to ruin. Treaty 2 was negotiated and signed here in 1871 two weeks after the signing of Treaty No. 1. From what I have been able to learn, the discussion of the terms of this treaty were very short, with the terms of Treaty No. 1 being quickly accepted by the bands who gathered at Manitoba House to meet with the treaty party.
Under the written terms of Treaty No. 2, the aboriginal signatories who are identified as "Chippewa", ceded an area three times larger than the territories ceded by "the Chippewa and Swampy Cree" under Treaty No. 1. These territories, to quote from a letter written by one of the treaty commissioners comprised 55,000 sqare miles of “... territory good for farming , settling, etc....” , across much of central Manitoba and a portion of southern Saskatchewan. Several pictures in the suite are also based on photos taken on the Ebb and Flow First Nation (the first reserve surveyed following treaty) and at the fork of the Little Saskatchewan and Assiniboine Rivers near Brandon, Manitoba on the boundary between Treaty 1 and Treaty 2 territories.
It is impossible for me to speak about the land entirely outside of political or historical contexts. In most cases, my paintings are based on photos of rather unspectacular locales. I attempt in the paintings, to convey the idea that history can have a felt presence in a place. The paintings acknowledge the beauty of the land but they are essentially about place and history and the ways that image and surface can indicate meaning.
Tim Schouten - November 9, 2004
Collection:
Date Made: 2004
Materials: oil, microcrystalline wax on canvas
Virtual Collection: Original CCCA
Rec Centre, Ebb & Flow (Treaty 2)
Work ID: 79756
Description:
The Treaty 2 Suite (Where IS Treaty Land?) [2004]
The Treaty 2 Suite (Where IS Treaty Land?) comprises fifteen encaustic paintings based mostly on photographs taken in the vicinity of the ruins of Manitoba House, a former HBC trading post near The Narrows of Lake Manitoba. Manitoba House was recreated on it’s original site on the shore of Lake Manitoba in 1974 by a local Métis group, but that recreation has itself now fallen to ruin. Treaty 2 was negotiated and signed here in 1871 two weeks after the signing of Treaty No. 1. From what I have been able to learn, the discussion of the terms of this treaty were very short, with the terms of Treaty No. 1 being quickly accepted by the bands who gathered at Manitoba House to meet with the treaty party.
Under the written terms of Treaty No. 2, the aboriginal signatories who are identified as "Chippewa", ceded an area three times larger than the territories ceded by "the Chippewa and Swampy Cree" under Treaty No. 1. These territories, to quote from a letter written by one of the treaty commissioners comprised 55,000 sqare miles of “... territory good for farming , settling, etc....” , across much of central Manitoba and a portion of southern Saskatchewan. Several pictures in the suite are also based on photos taken on the Ebb and Flow First Nation (the first reserve surveyed following treaty) and at the fork of the Little Saskatchewan and Assiniboine Rivers near Brandon, Manitoba on the boundary between Treaty 1 and Treaty 2 territories.
It is impossible for me to speak about the land entirely outside of political or historical contexts. In most cases, my paintings are based on photos of rather unspectacular locales. I attempt in the paintings, to convey the idea that history can have a felt presence in a place. The paintings acknowledge the beauty of the land but they are essentially about place and history and the ways that image and surface can indicate meaning.
Tim Schouten - November 9, 2004
Collection:
Date Made: 2004
Materials: oil, microcrystalline wax on canvas
Virtual Collection: Original CCCA
Along the Road to Kinosota (Treaty 2)
Work ID: 79757
Description:
The Treaty 2 Suite (Where IS Treaty Land?) [2004]
The Treaty 2 Suite (Where IS Treaty Land?) comprises fifteen encaustic paintings based mostly on photographs taken in the vicinity of the ruins of Manitoba House, a former HBC trading post near The Narrows of Lake Manitoba. Manitoba House was recreated on it’s original site on the shore of Lake Manitoba in 1974 by a local Métis group, but that recreation has itself now fallen to ruin. Treaty 2 was negotiated and signed here in 1871 two weeks after the signing of Treaty No. 1. From what I have been able to learn, the discussion of the terms of this treaty were very short, with the terms of Treaty No. 1 being quickly accepted by the bands who gathered at Manitoba House to meet with the treaty party.
Under the written terms of Treaty No. 2, the aboriginal signatories who are identified as "Chippewa", ceded an area three times larger than the territories ceded by "the Chippewa and Swampy Cree" under Treaty No. 1. These territories, to quote from a letter written by one of the treaty commissioners comprised 55,000 sqare miles of “... territory good for farming , settling, etc....” , across much of central Manitoba and a portion of southern Saskatchewan. Several pictures in the suite are also based on photos taken on the Ebb and Flow First Nation (the first reserve surveyed following treaty) and at the fork of the Little Saskatchewan and Assiniboine Rivers near Brandon, Manitoba on the boundary between Treaty 1 and Treaty 2 territories.
It is impossible for me to speak about the land entirely outside of political or historical contexts. In most cases, my paintings are based on photos of rather unspectacular locales. I attempt in the paintings, to convey the idea that history can have a felt presence in a place. The paintings acknowledge the beauty of the land but they are essentially about place and history and the ways that image and surface can indicate meaning.
Tim Schouten - November 9, 2004
Collection:
Date Made: 2004
Materials: oil, microcrystalline wax on canvas
Virtual Collection: Original CCCA
Red Sash (Treaties 1 & 2)
Work ID: 79758
Description:
The Treaty 2 Suite (Where IS Treaty Land?) [2004]
The Treaty 2 Suite (Where IS Treaty Land?) comprises fifteen encaustic paintings based mostly on photographs taken in the vicinity of the ruins of Manitoba House, a former HBC trading post near The Narrows of Lake Manitoba. Manitoba House was recreated on it’s original site on the shore of Lake Manitoba in 1974 by a local Métis group, but that recreation has itself now fallen to ruin. Treaty 2 was negotiated and signed here in 1871 two weeks after the signing of Treaty No. 1. From what I have been able to learn, the discussion of the terms of this treaty were very short, with the terms of Treaty No. 1 being quickly accepted by the bands who gathered at Manitoba House to meet with the treaty party.
Under the written terms of Treaty No. 2, the aboriginal signatories who are identified as "Chippewa", ceded an area three times larger than the territories ceded by "the Chippewa and Swampy Cree" under Treaty No. 1. These territories, to quote from a letter written by one of the treaty commissioners comprised 55,000 sqare miles of “... territory good for farming , settling, etc....” , across much of central Manitoba and a portion of southern Saskatchewan. Several pictures in the suite are also based on photos taken on the Ebb and Flow First Nation (the first reserve surveyed following treaty) and at the fork of the Little Saskatchewan and Assiniboine Rivers near Brandon, Manitoba on the boundary between Treaty 1 and Treaty 2 territories.
It is impossible for me to speak about the land entirely outside of political or historical contexts. In most cases, my paintings are based on photos of rather unspectacular locales. I attempt in the paintings, to convey the idea that history can have a felt presence in a place. The paintings acknowledge the beauty of the land but they are essentially about place and history and the ways that image and surface can indicate meaning.
Tim Schouten - November 9, 2004
Collection:
Date Made: 2004
Materials: oil, microcrystalline wax on canvas
Virtual Collection: Original CCCA
By virtue of their Indian blood (Treaty 3)
Work ID: 79763
Description:
The Treaty 3 Suite (Outside Promises) [2006]
The Treaty 3 Suite (Outside Promises) comprises 15 paintings in encaustic on canvas. The suite is one of eleven elements of The Treaty Suites Project. The Treaty Suites Project was conceived in 2003 as a series of eleven suites of paintings, each based on photographs taken at the exact locations of the signings of each of the eleven “numbered treaties” between First Nations and Canada. The project grew to include the locations of adhesions to the Treaties, which were signed in years following the initial signings. This whole series is an extension of the Treaty Lands project that has made up the major part of my practice since 1998.
The work in The Treaty 3 Suite (Outside Promises) is based on photos taken at a number of locations in Manitoba and Ontario within Treaty 3 territory. Treaty 3 was signed between “Her Majesty the Queen and the Saulteaux Tribe of the Ojibbeway Indians” on Harrison Creek at the North West Angle of Lake of the Woods in October of 1873. Once the site of a Métis community called Norwest and a Hudson Bay Company trading post on the Dawson Trail, this location has now almost completely reverted to bush. Traces of Dawson’s Route remain, but little else. The area is home to several Ojibwa First Nations on both sides of the Canada/US. border. Harrison Creek still provides good wild rice harvesting in years when the water levels aren’t too high.
Adhesions to Treaty 3 were signed at Lac Seul and at Fort Francis in 1874 and 1875 respectively. The Fort Francis adhesion is outstanding in that in an isolated incident of treaty activity, specific provisions were included for people of mixed blood in the Rainy River area, who in the wording of the document, “by virtue of their Indian blood, claim a certain interest or title in the lands or territories… the said Half-breeds have elected to join in the treaty… it being further understood that the said Half-breeds shall be entitled to all benefits of the said treaty”.
As part of the work for this project I did research in a number of archives and was fortunate to have the assistance of a number of knowledgeable researchers, historians and academics. Notably, Tim Holzkamm’s guidance was invaluable in leading me to Harrison Creek and David and Rosemary Malaher’s boundless knowledge and encouragement kept me going. Anne Lindsay and Jennifer Brown of the Rupert’s Land Study Centre also offered valuable assistance and support. I also went to each of the signing locations (to the NW Angle four times in three seasons) where I met a number of local people who generously offered me stories about the treaty times passed on from previous generations.
Finding some of these locations, using spotty information gleaned from archival maps and texts was a considerable task. I am grateful to my excellent and savvy guides, Roy Nigwance at Lac Seul and Ken and Leslie Sandy and Joe Powasson at The Lake of the Woods who knew the locales and skillfully negotiated often choppy waters as we sought out these obscure locations. Joe, a great-grandson of Chief Powasson, signatory to Treaty 3 was especially gentle as he patiently provided answers to my many questions during several hours spent photographing at Harrison Creek. Sadly, Joe succumbed to his cancer before the paintings in this show were completed.
The paintings in this body of work attempt to convey a sense of the histories of the places depicted. The beauty of the landscape is taken for granted in these paintings. Most importantly, I hope to evoke a sense of “more going on here than meets the eye” and a questioning of the meanings and politics of place and a rethinking of the Treaty relationship.
Tim Schouten - November 2006
Measurements: 121.92 x 152.4 cm
Collection:
Date Made: 2006
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Buketey Island (Treaty 3)
Work ID: 79761
Description:
The Treaty 3 Suite (Outside Promises) [2006]
The Treaty 3 Suite (Outside Promises) comprises 15 paintings in encaustic on canvas. The suite is one of eleven elements of The Treaty Suites Project. The Treaty Suites Project was conceived in 2003 as a series of eleven suites of paintings, each based on photographs taken at the exact locations of the signings of each of the eleven “numbered treaties” between First Nations and Canada. The project grew to include the locations of adhesions to the Treaties, which were signed in years following the initial signings. This whole series is an extension of the Treaty Lands project that has made up the major part of my practice since 1998.
The work in The Treaty 3 Suite (Outside Promises) is based on photos taken at a number of locations in Manitoba and Ontario within Treaty 3 territory. Treaty 3 was signed between “Her Majesty the Queen and the Saulteaux Tribe of the Ojibbeway Indians” on Harrison Creek at the North West Angle of Lake of the Woods in October of 1873. Once the site of a Métis community called Norwest and a Hudson Bay Company trading post on the Dawson Trail, this location has now almost completely reverted to bush. Traces of Dawson’s Route remain, but little else. The area is home to several Ojibwa First Nations on both sides of the Canada/US. border. Harrison Creek still provides good wild rice harvesting in years when the water levels aren’t too high.
Adhesions to Treaty 3 were signed at Lac Seul and at Fort Francis in 1874 and 1875 respectively. The Fort Francis adhesion is outstanding in that in an isolated incident of treaty activity, specific provisions were included for people of mixed blood in the Rainy River area, who in the wording of the document, “by virtue of their Indian blood, claim a certain interest or title in the lands or territories… the said Half-breeds have elected to join in the treaty… it being further understood that the said Half-breeds shall be entitled to all benefits of the said treaty”.
As part of the work for this project I did research in a number of archives and was fortunate to have the assistance of a number of knowledgeable researchers, historians and academics. Notably, Tim Holzkamm’s guidance was invaluable in leading me to Harrison Creek and David and Rosemary Malaher’s boundless knowledge and encouragement kept me going. Anne Lindsay and Jennifer Brown of the Rupert’s Land Study Centre also offered valuable assistance and support. I also went to each of the signing locations (to the NW Angle four times in three seasons) where I met a number of local people who generously offered me stories about the treaty times passed on from previous generations.
Finding some of these locations, using spotty information gleaned from archival maps and texts was a considerable task. I am grateful to my excellent and savvy guides, Roy Nigwance at Lac Seul and Ken and Leslie Sandy and Joe Powasson at The Lake of the Woods who knew the locales and skillfully negotiated often choppy waters as we sought out these obscure locations. Joe, a great-grandson of Chief Powasson, signatory to Treaty 3 was especially gentle as he patiently provided answers to my many questions during several hours spent photographing at Harrison Creek. Sadly, Joe succumbed to his cancer before the paintings in this show were completed.
The paintings in this body of work attempt to convey a sense of the histories of the places depicted. The beauty of the landscape is taken for granted in these paintings. Most importantly, I hope to evoke a sense of “more going on here than meets the eye” and a questioning of the meanings and politics of place and a rethinking of the Treaty relationship.
Tim Schouten - November 2006
Measurements: 121.92 x 91.44 cm
Collection:
Date Made: 2006
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
By McPherson’s Dock (Treaty 3)
Work ID: 79767
Description:
The Treaty 3 Suite (Outside Promises) [2006]
The Treaty 3 Suite (Outside Promises) comprises 15 paintings in encaustic on canvas. The suite is one of eleven elements of The Treaty Suites Project. The Treaty Suites Project was conceived in 2003 as a series of eleven suites of paintings, each based on photographs taken at the exact locations of the signings of each of the eleven “numbered treaties” between First Nations and Canada. The project grew to include the locations of adhesions to the Treaties, which were signed in years following the initial signings. This whole series is an extension of the Treaty Lands project that has made up the major part of my practice since 1998.
The work in The Treaty 3 Suite (Outside Promises) is based on photos taken at a number of locations in Manitoba and Ontario within Treaty 3 territory. Treaty 3 was signed between “Her Majesty the Queen and the Saulteaux Tribe of the Ojibbeway Indians” on Harrison Creek at the North West Angle of Lake of the Woods in October of 1873. Once the site of a Métis community called Norwest and a Hudson Bay Company trading post on the Dawson Trail, this location has now almost completely reverted to bush. Traces of Dawson’s Route remain, but little else. The area is home to several Ojibwa First Nations on both sides of the Canada/US. border. Harrison Creek still provides good wild rice harvesting in years when the water levels aren’t too high.
Adhesions to Treaty 3 were signed at Lac Seul and at Fort Francis in 1874 and 1875 respectively. The Fort Francis adhesion is outstanding in that in an isolated incident of treaty activity, specific provisions were included for people of mixed blood in the Rainy River area, who in the wording of the document, “by virtue of their Indian blood, claim a certain interest or title in the lands or territories… the said Half-breeds have elected to join in the treaty… it being further understood that the said Half-breeds shall be entitled to all benefits of the said treaty”.
As part of the work for this project I did research in a number of archives and was fortunate to have the assistance of a number of knowledgeable researchers, historians and academics. Notably, Tim Holzkamm’s guidance was invaluable in leading me to Harrison Creek and David and Rosemary Malaher’s boundless knowledge and encouragement kept me going. Anne Lindsay and Jennifer Brown of the Rupert’s Land Study Centre also offered valuable assistance and support. I also went to each of the signing locations (to the NW Angle four times in three seasons) where I met a number of local people who generously offered me stories about the treaty times passed on from previous generations.
Finding some of these locations, using spotty information gleaned from archival maps and texts was a considerable task. I am grateful to my excellent and savvy guides, Roy Nigwance at Lac Seul and Ken and Leslie Sandy and Joe Powasson at The Lake of the Woods who knew the locales and skillfully negotiated often choppy waters as we sought out these obscure locations. Joe, a great-grandson of Chief Powasson, signatory to Treaty 3 was especially gentle as he patiently provided answers to my many questions during several hours spent photographing at Harrison Creek. Sadly, Joe succumbed to his cancer before the paintings in this show were completed.
The paintings in this body of work attempt to convey a sense of the histories of the places depicted. The beauty of the landscape is taken for granted in these paintings. Most importantly, I hope to evoke a sense of “more going on here than meets the eye” and a questioning of the meanings and politics of place and a rethinking of the Treaty relationship.
Tim Schouten - November 2006
Measurements: 121.92 x 91.44 cm
Collection:
Date Made: 2006
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Harrison Creek (Treaty 3)
Work ID: 79766
Description:
The Treaty 3 Suite (Outside Promises) [2006]
The Treaty 3 Suite (Outside Promises) comprises 15 paintings in encaustic on canvas. The suite is one of eleven elements of The Treaty Suites Project. The Treaty Suites Project was conceived in 2003 as a series of eleven suites of paintings, each based on photographs taken at the exact locations of the signings of each of the eleven “numbered treaties” between First Nations and Canada. The project grew to include the locations of adhesions to the Treaties, which were signed in years following the initial signings. This whole series is an extension of the Treaty Lands project that has made up the major part of my practice since 1998.
The work in The Treaty 3 Suite (Outside Promises) is based on photos taken at a number of locations in Manitoba and Ontario within Treaty 3 territory. Treaty 3 was signed between “Her Majesty the Queen and the Saulteaux Tribe of the Ojibbeway Indians” on Harrison Creek at the North West Angle of Lake of the Woods in October of 1873. Once the site of a Métis community called Norwest and a Hudson Bay Company trading post on the Dawson Trail, this location has now almost completely reverted to bush. Traces of Dawson’s Route remain, but little else. The area is home to several Ojibwa First Nations on both sides of the Canada/US. border. Harrison Creek still provides good wild rice harvesting in years when the water levels aren’t too high.
Adhesions to Treaty 3 were signed at Lac Seul and at Fort Francis in 1874 and 1875 respectively. The Fort Francis adhesion is outstanding in that in an isolated incident of treaty activity, specific provisions were included for people of mixed blood in the Rainy River area, who in the wording of the document, “by virtue of their Indian blood, claim a certain interest or title in the lands or territories… the said Half-breeds have elected to join in the treaty… it being further understood that the said Half-breeds shall be entitled to all benefits of the said treaty”.
As part of the work for this project I did research in a number of archives and was fortunate to have the assistance of a number of knowledgeable researchers, historians and academics. Notably, Tim Holzkamm’s guidance was invaluable in leading me to Harrison Creek and David and Rosemary Malaher’s boundless knowledge and encouragement kept me going. Anne Lindsay and Jennifer Brown of the Rupert’s Land Study Centre also offered valuable assistance and support. I also went to each of the signing locations (to the NW Angle four times in three seasons) where I met a number of local people who generously offered me stories about the treaty times passed on from previous generations.
Finding some of these locations, using spotty information gleaned from archival maps and texts was a considerable task. I am grateful to my excellent and savvy guides, Roy Nigwance at Lac Seul and Ken and Leslie Sandy and Joe Powasson at The Lake of the Woods who knew the locales and skillfully negotiated often choppy waters as we sought out these obscure locations. Joe, a great-grandson of Chief Powasson, signatory to Treaty 3 was especially gentle as he patiently provided answers to my many questions during several hours spent photographing at Harrison Creek. Sadly, Joe succumbed to his cancer before the paintings in this show were completed.
The paintings in this body of work attempt to convey a sense of the histories of the places depicted. The beauty of the landscape is taken for granted in these paintings. Most importantly, I hope to evoke a sense of “more going on here than meets the eye” and a questioning of the meanings and politics of place and a rethinking of the Treaty relationship.
Tim Schouten - November 2006
Measurements: 167.64 x 137.16 cm
Collection:
Date Made: 2006
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Highway 17 between Kenora and Sioux Lookout near IR 27 on Eagle Lake (Treaty 3)
Work ID: 79759
Description:
The Treaty 3 Suite (Outside Promises) [2006]
The Treaty 3 Suite (Outside Promises) comprises 15 paintings in encaustic on canvas. The suite is one of eleven elements of The Treaty Suites Project. The Treaty Suites Project was conceived in 2003 as a series of eleven suites of paintings, each based on photographs taken at the exact locations of the signings of each of the eleven “numbered treaties” between First Nations and Canada. The project grew to include the locations of adhesions to the Treaties, which were signed in years following the initial signings. This whole series is an extension of the Treaty Lands project that has made up the major part of my practice since 1998.
The work in The Treaty 3 Suite (Outside Promises) is based on photos taken at a number of locations in Manitoba and Ontario within Treaty 3 territory. Treaty 3 was signed between “Her Majesty the Queen and the Saulteaux Tribe of the Ojibbeway Indians” on Harrison Creek at the North West Angle of Lake of the Woods in October of 1873. Once the site of a Métis community called Norwest and a Hudson Bay Company trading post on the Dawson Trail, this location has now almost completely reverted to bush. Traces of Dawson’s Route remain, but little else. The area is home to several Ojibwa First Nations on both sides of the Canada/US. border. Harrison Creek still provides good wild rice harvesting in years when the water levels aren’t too high.
Adhesions to Treaty 3 were signed at Lac Seul and at Fort Francis in 1874 and 1875 respectively. The Fort Francis adhesion is outstanding in that in an isolated incident of treaty activity, specific provisions were included for people of mixed blood in the Rainy River area, who in the wording of the document, “by virtue of their Indian blood, claim a certain interest or title in the lands or territories… the said Half-breeds have elected to join in the treaty… it being further understood that the said Half-breeds shall be entitled to all benefits of the said treaty”.
As part of the work for this project I did research in a number of archives and was fortunate to have the assistance of a number of knowledgeable researchers, historians and academics. Notably, Tim Holzkamm’s guidance was invaluable in leading me to Harrison Creek and David and Rosemary Malaher’s boundless knowledge and encouragement kept me going. Anne Lindsay and Jennifer Brown of the Rupert’s Land Study Centre also offered valuable assistance and support. I also went to each of the signing locations (to the NW Angle four times in three seasons) where I met a number of local people who generously offered me stories about the treaty times passed on from previous generations.
Finding some of these locations, using spotty information gleaned from archival maps and texts was a considerable task. I am grateful to my excellent and savvy guides, Roy Nigwance at Lac Seul and Ken and Leslie Sandy and Joe Powasson at The Lake of the Woods who knew the locales and skillfully negotiated often choppy waters as we sought out these obscure locations. Joe, a great-grandson of Chief Powasson, signatory to Treaty 3 was especially gentle as he patiently provided answers to my many questions during several hours spent photographing at Harrison Creek. Sadly, Joe succumbed to his cancer before the paintings in this show were completed.
The paintings in this body of work attempt to convey a sense of the histories of the places depicted. The beauty of the landscape is taken for granted in these paintings. Most importantly, I hope to evoke a sense of “more going on here than meets the eye” and a questioning of the meanings and politics of place and a rethinking of the Treaty relationship.
Tim Schouten - November 2006
Measurements: 121.92 x 152.4 cm
Collection:
Date Made: 2006
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Dawson Trail (Treaty 3)
Work ID: 79762
Description:
The Treaty 3 Suite (Outside Promises) [2006]
The Treaty 3 Suite (Outside Promises) comprises 15 paintings in encaustic on canvas. The suite is one of eleven elements of The Treaty Suites Project. The Treaty Suites Project was conceived in 2003 as a series of eleven suites of paintings, each based on photographs taken at the exact locations of the signings of each of the eleven “numbered treaties” between First Nations and Canada. The project grew to include the locations of adhesions to the Treaties, which were signed in years following the initial signings. This whole series is an extension of the Treaty Lands project that has made up the major part of my practice since 1998.
The work in The Treaty 3 Suite (Outside Promises) is based on photos taken at a number of locations in Manitoba and Ontario within Treaty 3 territory. Treaty 3 was signed between “Her Majesty the Queen and the Saulteaux Tribe of the Ojibbeway Indians” on Harrison Creek at the North West Angle of Lake of the Woods in October of 1873. Once the site of a Métis community called Norwest and a Hudson Bay Company trading post on the Dawson Trail, this location has now almost completely reverted to bush. Traces of Dawson’s Route remain, but little else. The area is home to several Ojibwa First Nations on both sides of the Canada/US. border. Harrison Creek still provides good wild rice harvesting in years when the water levels aren’t too high.
Adhesions to Treaty 3 were signed at Lac Seul and at Fort Francis in 1874 and 1875 respectively. The Fort Francis adhesion is outstanding in that in an isolated incident of treaty activity, specific provisions were included for people of mixed blood in the Rainy River area, who in the wording of the document, “by virtue of their Indian blood, claim a certain interest or title in the lands or territories… the said Half-breeds have elected to join in the treaty… it being further understood that the said Half-breeds shall be entitled to all benefits of the said treaty”.
As part of the work for this project I did research in a number of archives and was fortunate to have the assistance of a number of knowledgeable researchers, historians and academics. Notably, Tim Holzkamm’s guidance was invaluable in leading me to Harrison Creek and David and Rosemary Malaher’s boundless knowledge and encouragement kept me going. Anne Lindsay and Jennifer Brown of the Rupert’s Land Study Centre also offered valuable assistance and support. I also went to each of the signing locations (to the NW Angle four times in three seasons) where I met a number of local people who generously offered me stories about the treaty times passed on from previous generations.
Finding some of these locations, using spotty information gleaned from archival maps and texts was a considerable task. I am grateful to my excellent and savvy guides, Roy Nigwance at Lac Seul and Ken and Leslie Sandy and Joe Powasson at The Lake of the Woods who knew the locales and skillfully negotiated often choppy waters as we sought out these obscure locations. Joe, a great-grandson of Chief Powasson, signatory to Treaty 3 was especially gentle as he patiently provided answers to my many questions during several hours spent photographing at Harrison Creek. Sadly, Joe succumbed to his cancer before the paintings in this show were completed.
The paintings in this body of work attempt to convey a sense of the histories of the places depicted. The beauty of the landscape is taken for granted in these paintings. Most importantly, I hope to evoke a sense of “more going on here than meets the eye” and a questioning of the meanings and politics of place and a rethinking of the Treaty relationship.
Tim Schouten - November 2006
Measurements: 60.96 x 81.28 cm
Collection:
Date Made: 2006
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Buffalo Point (Treaty 3)
Work ID: 79760
Description:
The Treaty 3 Suite (Outside Promises) [2006]
The Treaty 3 Suite (Outside Promises) comprises 15 paintings in encaustic on canvas. The suite is one of eleven elements of The Treaty Suites Project. The Treaty Suites Project was conceived in 2003 as a series of eleven suites of paintings, each based on photographs taken at the exact locations of the signings of each of the eleven “numbered treaties” between First Nations and Canada. The project grew to include the locations of adhesions to the Treaties, which were signed in years following the initial signings. This whole series is an extension of the Treaty Lands project that has made up the major part of my practice since 1998.
The work in The Treaty 3 Suite (Outside Promises) is based on photos taken at a number of locations in Manitoba and Ontario within Treaty 3 territory. Treaty 3 was signed between “Her Majesty the Queen and the Saulteaux Tribe of the Ojibbeway Indians” on Harrison Creek at the North West Angle of Lake of the Woods in October of 1873. Once the site of a Métis community called Norwest and a Hudson Bay Company trading post on the Dawson Trail, this location has now almost completely reverted to bush. Traces of Dawson’s Route remain, but little else. The area is home to several Ojibwa First Nations on both sides of the Canada/US. border. Harrison Creek still provides good wild rice harvesting in years when the water levels aren’t too high.
Adhesions to Treaty 3 were signed at Lac Seul and at Fort Francis in 1874 and 1875 respectively. The Fort Francis adhesion is outstanding in that in an isolated incident of treaty activity, specific provisions were included for people of mixed blood in the Rainy River area, who in the wording of the document, “by virtue of their Indian blood, claim a certain interest or title in the lands or territories… the said Half-breeds have elected to join in the treaty… it being further understood that the said Half-breeds shall be entitled to all benefits of the said treaty”.
As part of the work for this project I did research in a number of archives and was fortunate to have the assistance of a number of knowledgeable researchers, historians and academics. Notably, Tim Holzkamm’s guidance was invaluable in leading me to Harrison Creek and David and Rosemary Malaher’s boundless knowledge and encouragement kept me going. Anne Lindsay and Jennifer Brown of the Rupert’s Land Study Centre also offered valuable assistance and support. I also went to each of the signing locations (to the NW Angle four times in three seasons) where I met a number of local people who generously offered me stories about the treaty times passed on from previous generations.
Finding some of these locations, using spotty information gleaned from archival maps and texts was a considerable task. I am grateful to my excellent and savvy guides, Roy Nigwance at Lac Seul and Ken and Leslie Sandy and Joe Powasson at The Lake of the Woods who knew the locales and skillfully negotiated often choppy waters as we sought out these obscure locations. Joe, a great-grandson of Chief Powasson, signatory to Treaty 3 was especially gentle as he patiently provided answers to my many questions during several hours spent photographing at Harrison Creek. Sadly, Joe succumbed to his cancer before the paintings in this show were completed.
The paintings in this body of work attempt to convey a sense of the histories of the places depicted. The beauty of the landscape is taken for granted in these paintings. Most importantly, I hope to evoke a sense of “more going on here than meets the eye” and a questioning of the meanings and politics of place and a rethinking of the Treaty relationship.
Tim Schouten - November 2006
Measurements: 60.96 x 76.2 cm
Collection:
Date Made: 2006
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Camp at Harrison Creek (Treaty 3)
Work ID: 79765
Description:
The Treaty 3 Suite (Outside Promises) [2006]
The Treaty 3 Suite (Outside Promises) comprises 15 paintings in encaustic on canvas. The suite is one of eleven elements of The Treaty Suites Project. The Treaty Suites Project was conceived in 2003 as a series of eleven suites of paintings, each based on photographs taken at the exact locations of the signings of each of the eleven “numbered treaties” between First Nations and Canada. The project grew to include the locations of adhesions to the Treaties, which were signed in years following the initial signings. This whole series is an extension of the Treaty Lands project that has made up the major part of my practice since 1998.
The work in The Treaty 3 Suite (Outside Promises) is based on photos taken at a number of locations in Manitoba and Ontario within Treaty 3 territory. Treaty 3 was signed between “Her Majesty the Queen and the Saulteaux Tribe of the Ojibbeway Indians” on Harrison Creek at the North West Angle of Lake of the Woods in October of 1873. Once the site of a Métis community called Norwest and a Hudson Bay Company trading post on the Dawson Trail, this location has now almost completely reverted to bush. Traces of Dawson’s Route remain, but little else. The area is home to several Ojibwa First Nations on both sides of the Canada/US. border. Harrison Creek still provides good wild rice harvesting in years when the water levels aren’t too high.
Adhesions to Treaty 3 were signed at Lac Seul and at Fort Francis in 1874 and 1875 respectively. The Fort Francis adhesion is outstanding in that in an isolated incident of treaty activity, specific provisions were included for people of mixed blood in the Rainy River area, who in the wording of the document, “by virtue of their Indian blood, claim a certain interest or title in the lands or territories… the said Half-breeds have elected to join in the treaty… it being further understood that the said Half-breeds shall be entitled to all benefits of the said treaty”.
As part of the work for this project I did research in a number of archives and was fortunate to have the assistance of a number of knowledgeable researchers, historians and academics. Notably, Tim Holzkamm’s guidance was invaluable in leading me to Harrison Creek and David and Rosemary Malaher’s boundless knowledge and encouragement kept me going. Anne Lindsay and Jennifer Brown of the Rupert’s Land Study Centre also offered valuable assistance and support. I also went to each of the signing locations (to the NW Angle four times in three seasons) where I met a number of local people who generously offered me stories about the treaty times passed on from previous generations.
Finding some of these locations, using spotty information gleaned from archival maps and texts was a considerable task. I am grateful to my excellent and savvy guides, Roy Nigwance at Lac Seul and Ken and Leslie Sandy and Joe Powasson at The Lake of the Woods who knew the locales and skillfully negotiated often choppy waters as we sought out these obscure locations. Joe, a great-grandson of Chief Powasson, signatory to Treaty 3 was especially gentle as he patiently provided answers to my many questions during several hours spent photographing at Harrison Creek. Sadly, Joe succumbed to his cancer before the paintings in this show were completed.
The paintings in this body of work attempt to convey a sense of the histories of the places depicted. The beauty of the landscape is taken for granted in these paintings. Most importantly, I hope to evoke a sense of “more going on here than meets the eye” and a questioning of the meanings and politics of place and a rethinking of the Treaty relationship.
Tim Schouten - November 2006
Measurements: 45.72 x 60.96 cm
Collection:
Date Made: 2006
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Highway 17, between Kenora and Sioux Lookout near Feist Lake (Treaty 3)
Work ID: 79764
Description:
The Treaty 3 Suite (Outside Promises) [2006]
The Treaty 3 Suite (Outside Promises) comprises 15 paintings in encaustic on canvas. The suite is one of eleven elements of The Treaty Suites Project. The Treaty Suites Project was conceived in 2003 as a series of eleven suites of paintings, each based on photographs taken at the exact locations of the signings of each of the eleven “numbered treaties” between First Nations and Canada. The project grew to include the locations of adhesions to the Treaties, which were signed in years following the initial signings. This whole series is an extension of the Treaty Lands project that has made up the major part of my practice since 1998.
The work in The Treaty 3 Suite (Outside Promises) is based on photos taken at a number of locations in Manitoba and Ontario within Treaty 3 territory. Treaty 3 was signed between “Her Majesty the Queen and the Saulteaux Tribe of the Ojibbeway Indians” on Harrison Creek at the North West Angle of Lake of the Woods in October of 1873. Once the site of a Métis community called Norwest and a Hudson Bay Company trading post on the Dawson Trail, this location has now almost completely reverted to bush. Traces of Dawson’s Route remain, but little else. The area is home to several Ojibwa First Nations on both sides of the Canada/US. border. Harrison Creek still provides good wild rice harvesting in years when the water levels aren’t too high.
Adhesions to Treaty 3 were signed at Lac Seul and at Fort Francis in 1874 and 1875 respectively. The Fort Francis adhesion is outstanding in that in an isolated incident of treaty activity, specific provisions were included for people of mixed blood in the Rainy River area, who in the wording of the document, “by virtue of their Indian blood, claim a certain interest or title in the lands or territories… the said Half-breeds have elected to join in the treaty… it being further understood that the said Half-breeds shall be entitled to all benefits of the said treaty”.
As part of the work for this project I did research in a number of archives and was fortunate to have the assistance of a number of knowledgeable researchers, historians and academics. Notably, Tim Holzkamm’s guidance was invaluable in leading me to Harrison Creek and David and Rosemary Malaher’s boundless knowledge and encouragement kept me going. Anne Lindsay and Jennifer Brown of the Rupert’s Land Study Centre also offered valuable assistance and support. I also went to each of the signing locations (to the NW Angle four times in three seasons) where I met a number of local people who generously offered me stories about the treaty times passed on from previous generations.
Finding some of these locations, using spotty information gleaned from archival maps and texts was a considerable task. I am grateful to my excellent and savvy guides, Roy Nigwance at Lac Seul and Ken and Leslie Sandy and Joe Powasson at The Lake of the Woods who knew the locales and skillfully negotiated often choppy waters as we sought out these obscure locations. Joe, a great-grandson of Chief Powasson, signatory to Treaty 3 was especially gentle as he patiently provided answers to my many questions during several hours spent photographing at Harrison Creek. Sadly, Joe succumbed to his cancer before the paintings in this show were completed.
The paintings in this body of work attempt to convey a sense of the histories of the places depicted. The beauty of the landscape is taken for granted in these paintings. Most importantly, I hope to evoke a sense of “more going on here than meets the eye” and a questioning of the meanings and politics of place and a rethinking of the Treaty relationship.
Tim Schouten - November 2006
Measurements: 121.92 x 152.4 cm
Collection:
Date Made: 2006
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Train Stop, Fort Francis (Treaty 3)
Work ID: 79768
Description:
The Treaty 3 Suite (Outside Promises) [2006]
The Treaty 3 Suite (Outside Promises) comprises 15 paintings in encaustic on canvas. The suite is one of eleven elements of The Treaty Suites Project. The Treaty Suites Project was conceived in 2003 as a series of eleven suites of paintings, each based on photographs taken at the exact locations of the signings of each of the eleven “numbered treaties” between First Nations and Canada. The project grew to include the locations of adhesions to the Treaties, which were signed in years following the initial signings. This whole series is an extension of the Treaty Lands project that has made up the major part of my practice since 1998.
The work in The Treaty 3 Suite (Outside Promises) is based on photos taken at a number of locations in Manitoba and Ontario within Treaty 3 territory. Treaty 3 was signed between “Her Majesty the Queen and the Saulteaux Tribe of the Ojibbeway Indians” on Harrison Creek at the North West Angle of Lake of the Woods in October of 1873. Once the site of a Métis community called Norwest and a Hudson Bay Company trading post on the Dawson Trail, this location has now almost completely reverted to bush. Traces of Dawson’s Route remain, but little else. The area is home to several Ojibwa First Nations on both sides of the Canada/US. border. Harrison Creek still provides good wild rice harvesting in years when the water levels aren’t too high.
Adhesions to Treaty 3 were signed at Lac Seul and at Fort Francis in 1874 and 1875 respectively. The Fort Francis adhesion is outstanding in that in an isolated incident of treaty activity, specific provisions were included for people of mixed blood in the Rainy River area, who in the wording of the document, “by virtue of their Indian blood, claim a certain interest or title in the lands or territories… the said Half-breeds have elected to join in the treaty… it being further understood that the said Half-breeds shall be entitled to all benefits of the said treaty”.
As part of the work for this project I did research in a number of archives and was fortunate to have the assistance of a number of knowledgeable researchers, historians and academics. Notably, Tim Holzkamm’s guidance was invaluable in leading me to Harrison Creek and David and Rosemary Malaher’s boundless knowledge and encouragement kept me going. Anne Lindsay and Jennifer Brown of the Rupert’s Land Study Centre also offered valuable assistance and support. I also went to each of the signing locations (to the NW Angle four times in three seasons) where I met a number of local people who generously offered me stories about the treaty times passed on from previous generations.
Finding some of these locations, using spotty information gleaned from archival maps and texts was a considerable task. I am grateful to my excellent and savvy guides, Roy Nigwance at Lac Seul and Ken and Leslie Sandy and Joe Powasson at The Lake of the Woods who knew the locales and skillfully negotiated often choppy waters as we sought out these obscure locations. Joe, a great-grandson of Chief Powasson, signatory to Treaty 3 was especially gentle as he patiently provided answers to my many questions during several hours spent photographing at Harrison Creek. Sadly, Joe succumbed to his cancer before the paintings in this show were completed.
The paintings in this body of work attempt to convey a sense of the histories of the places depicted. The beauty of the landscape is taken for granted in these paintings. Most importantly, I hope to evoke a sense of “more going on here than meets the eye” and a questioning of the meanings and politics of place and a rethinking of the Treaty relationship.
Tim Schouten - November 2006
Measurements: 91.44 x 152.4 cm
Collection:
Date Made: 2006
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
The Qu’Appelle River (Treaty 4)
Work ID: 79777
Description: The Treaty 4 Suite.
Measurements: 21.59 x 27.94 cm
Collection:
Date Made: 2007
Materials: oil, pigment, beeswax, microcrystalline wax on vellum
Virtual Collection: Original CCCA
Fort Ellice 1879 – from a photograph by G. M. Dawson, RB-3956 Archives of Saskatchewan (Treaty 4)
Work ID: 79770
Description: The Treaty 4 Suite.
Measurements: 91.44 x 60.96 cm
Collection:
Date Made: 2007
Materials: oil, pigment, beeswax, microcrystalline wax on vellum
Virtual Collection: Original CCCA
The Treaty 4 Governance Centre at Fort Qu’Appelle SK
Work ID: 79776
Description: The Treaty 4 Suite.
Measurements: 21.59 x 27.94 cm
Collection:
Date Made: 2007
Materials: oil, pigment, beeswax, microcrystalline wax on vellum
Virtual Collection: Original CCCA
Bridge over the Qu’Appelle River near the old Hudson Bay Post in Fort Qu’Appelle
Work ID: 79769
Description: The Treaty 4 Suite.
Measurements: 21.59 x 27.94 cm
Collection:
Date Made: 2007
Materials: oil, pigment, beeswax, microcrystalline wax on vellum
Virtual Collection: Original CCCA
The Fort Ellice monument – Treaty 4 was signed here on September 21, 1874
Work ID: 79774
Description: The Treaty 4 Suite.
Measurements: 21.59 x 27.94 cm
Collection:
Date Made: 2007
Materials: oil, pigment, beeswax, microcrystalline wax on vellum
Virtual Collection: Original CCCA
The past shimmers at the Wahpiimoostoosis Healing Centre in Lebret SK
Work ID: 79775
Description: The Treaty 4 Suite.
Measurements: 21.59 x 27.94 cm
Collection:
Date Made: 2007
Materials: oil, pigment, beeswax, microcrystalline wax on vellum
Virtual Collection: Original CCCA
Traces of the Lebret Industrial School in Lebret SK
Work ID: 79773
Description: The Treaty 4 Suite.
Measurements: 21.59 x 27.94 cm
Collection:
Date Made: 2007
Materials: oil, pigment, beeswax, microcrystalline wax on vellum
Virtual Collection: Original CCCA
Fort Ellice 2006 (Treaty 4)
Work ID: 79771
Description: The Treaty 4 Suite.
Measurements: 91.44 x 60.96 cm
Collection:
Date Made: 2007
Materials: oil, pigment, beeswax, microcrystalline wax on vellum
Virtual Collection: Original CCCA
Kids outside the Pow-Wow circle at the annual Treaty 4 Gathering at Fort Qu’Appelle
Work ID: 79772
Description: The Treaty 4 Suite.
Measurements: 21.59 x 27.94 cm
Collection:
Date Made: 2007
Materials: oil, pigment, beeswax, microcrystalline wax on vellum
Virtual Collection: Original CCCA
further westward
Work ID: 79778
Description: The Treaty 4 Suite.
Measurements: 21.59 x 27.94 cm
Collection:
Date Made: 2007
Materials: oil, pigment, beeswax, microcrystalline wax on vellum
Virtual Collection: Original CCCA
Untitled 113 (In the Absence of Horses)
Work ID: 79885
Description:
In the Absence of Horses [2000-2008]
In The Absence of Horses is a series of one hundred small encaustic paintings based on images of horses. The series evolved out of a single initial image – a black horse rolling on its back after a long ride, hooves akimbo. So little a part of most peoples’ daily lives, horses retain an iconic and ubiquitous presence in the media. In many ways horses have all but disappeared from our culture except as emblematic entities inhabiting the contemporary psyche.
Where are the horses really? Still used in cattle ranching and in policing – a holdover role, now almost purely symbolic, horses are largely relegated to sports and entertainment roles in Western societies. They are in the rodeo, in circuses, in horse shows, at the races, on television, in movies, in songs, in poems – and in art. From Homer to Remington to Bruce Nauman and Maurizio Cattelan’s, The Ballad of Trotsky, a beautiful taxidermed horse slung from the ceiling which recently sold at Sotheby's for $2 million. The Kentucky Derby is always front page news – think, “Smarty Jones, the little horse that could”. Tony Soprano loved a horse. This body of work is informed by the writings of the late American philosopher, poet and animal trainer Vicki Hearne, who speculated on the moral life of domestic animals, their lives in concert with humans and her profound belief that pets possess courage, wisdom and intellect. The title, In the Absence of Horses is taken from the title of a book and a poem by the late Ms Hearne. The poem touches on love and loss and the power of language and concludes with the line, “Here, in the grass, are horses.”
Tim Schouten - December 2004
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2008
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Continually moving westward into the Indian country (Treaty 4)
Work ID: 79782
Description:
The Treaty 4 Suite (Adhesions - westward into the Indian country) [2008]
The works in this series come out of research and travel to Wuskwi Sipihk First Nation on Swan Lake, Manitoba, Sapotaweyak First Nation on Shoal River, Manitoba, to Fort Pelly in Saskatchewan and to Fort Walsh in the Cypress Hills. At each of these places, adhesions to Treaty No. 4 were signed in the three-year period following the initial Treaty signing at Qu’Appelle and Fort Ellice in 1874.
Treaty No. 4 covers much of the territory of southern Saskatchewan west of Treaty 2 territory as well as portions of Manitoba and Alberta. The title of the exhibition is taken from the, “Order in Council Setting Up Commission For Treaty No. 4, P. C. No. 944”. The Order recommended the establishment of a commission, “for the purpose of making Treaties during the current year with such of the Indian Bands as they may find it expedient to deal with” in a portion of the territories west of the western boundary of Treaty No. 2.
Reasons cited in the text as to the need for treaty, include, “the operations of the Boundary Commission which are continually moving westward into the Indian Country, and also the steps which are being taken in connection with the proposed Telegraph Line from Fort Garry westward, all of which proceedings are calculated to further unsettle the Indian mind, already in a disturbed condition”. The Order is signed by L.S. Huntingdon and was approved July 23, 1874.
Tim Schouten
Measurements: 91.44 x 60.96 cm
Collection:
Date Made: 2008
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on vellum
Virtual Collection: Original CCCA
Settlement, mining or other purposes (Treaty 4)
Work ID: 79788
Description:
The Treaty 4 Suite (Adhesions - westward into the Indian country) [2008]
The works in this series come out of research and travel to Wuskwi Sipihk First Nation on Swan Lake, Manitoba, Sapotaweyak First Nation on Shoal River, Manitoba, to Fort Pelly in Saskatchewan and to Fort Walsh in the Cypress Hills. At each of these places, adhesions to Treaty No. 4 were signed in the three-year period following the initial Treaty signing at Qu’Appelle and Fort Ellice in 1874.
Treaty No. 4 covers much of the territory of southern Saskatchewan west of Treaty 2 territory as well as portions of Manitoba and Alberta. The title of the exhibition is taken from the, “Order in Council Setting Up Commission For Treaty No. 4, P. C. No. 944”. The Order recommended the establishment of a commission, “for the purpose of making Treaties during the current year with such of the Indian Bands as they may find it expedient to deal with” in a portion of the territories west of the western boundary of Treaty No. 2.
Reasons cited in the text as to the need for treaty, include, “the operations of the Boundary Commission which are continually moving westward into the Indian Country, and also the steps which are being taken in connection with the proposed Telegraph Line from Fort Garry westward, all of which proceedings are calculated to further unsettle the Indian mind, already in a disturbed condition”. The Order is signed by L.S. Huntingdon and was approved July 23, 1874.
Tim Schouten
Measurements: 91.44 x 60.96 cm
Collection:
Date Made: 2008
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on vellum
Virtual Collection: Original CCCA
Untitled 110 (In the Absence of Horses)
Work ID: 79883
Description:
In the Absence of Horses [2000-2008]
In The Absence of Horses is a series of one hundred small encaustic paintings based on images of horses. The series evolved out of a single initial image – a black horse rolling on its back after a long ride, hooves akimbo. So little a part of most peoples’ daily lives, horses retain an iconic and ubiquitous presence in the media. In many ways horses have all but disappeared from our culture except as emblematic entities inhabiting the contemporary psyche.
Where are the horses really? Still used in cattle ranching and in policing – a holdover role, now almost purely symbolic, horses are largely relegated to sports and entertainment roles in Western societies. They are in the rodeo, in circuses, in horse shows, at the races, on television, in movies, in songs, in poems – and in art. From Homer to Remington to Bruce Nauman and Maurizio Cattelan’s, The Ballad of Trotsky, a beautiful taxidermed horse slung from the ceiling which recently sold at Sotheby's for $2 million. The Kentucky Derby is always front page news – think, “Smarty Jones, the little horse that could”. Tony Soprano loved a horse. This body of work is informed by the writings of the late American philosopher, poet and animal trainer Vicki Hearne, who speculated on the moral life of domestic animals, their lives in concert with humans and her profound belief that pets possess courage, wisdom and intellect. The title, In the Absence of Horses is taken from the title of a book and a poem by the late Ms Hearne. The poem touches on love and loss and the power of language and concludes with the line, “Here, in the grass, are horses.”
Tim Schouten - December 2004
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2008
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Interpretation (Treaty 4)
Work ID: 79784
Description:
The Treaty 4 Suite (Adhesions - westward into the Indian country) [2008]
The works in this series come out of research and travel to Wuskwi Sipihk First Nation on Swan Lake, Manitoba, Sapotaweyak First Nation on Shoal River, Manitoba, to Fort Pelly in Saskatchewan and to Fort Walsh in the Cypress Hills. At each of these places, adhesions to Treaty No. 4 were signed in the three-year period following the initial Treaty signing at Qu’Appelle and Fort Ellice in 1874.
Treaty No. 4 covers much of the territory of southern Saskatchewan west of Treaty 2 territory as well as portions of Manitoba and Alberta. The title of the exhibition is taken from the, “Order in Council Setting Up Commission For Treaty No. 4, P. C. No. 944”. The Order recommended the establishment of a commission, “for the purpose of making Treaties during the current year with such of the Indian Bands as they may find it expedient to deal with” in a portion of the territories west of the western boundary of Treaty No. 2.
Reasons cited in the text as to the need for treaty, include, “the operations of the Boundary Commission which are continually moving westward into the Indian Country, and also the steps which are being taken in connection with the proposed Telegraph Line from Fort Garry westward, all of which proceedings are calculated to further unsettle the Indian mind, already in a disturbed condition”. The Order is signed by L.S. Huntingdon and was approved July 23, 1874.
Tim Schouten
Measurements: 91.44 x 60.96 cm
Collection:
Date Made: 2008
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on vellum
Virtual Collection: Original CCCA
Untitled 102 (In the Absence of Horses)
Work ID: 79882
Description:
In the Absence of Horses [2000-2008]
In The Absence of Horses is a series of one hundred small encaustic paintings based on images of horses. The series evolved out of a single initial image – a black horse rolling on its back after a long ride, hooves akimbo. So little a part of most peoples’ daily lives, horses retain an iconic and ubiquitous presence in the media. In many ways horses have all but disappeared from our culture except as emblematic entities inhabiting the contemporary psyche.
Where are the horses really? Still used in cattle ranching and in policing – a holdover role, now almost purely symbolic, horses are largely relegated to sports and entertainment roles in Western societies. They are in the rodeo, in circuses, in horse shows, at the races, on television, in movies, in songs, in poems – and in art. From Homer to Remington to Bruce Nauman and Maurizio Cattelan’s, The Ballad of Trotsky, a beautiful taxidermed horse slung from the ceiling which recently sold at Sotheby's for $2 million. The Kentucky Derby is always front page news – think, “Smarty Jones, the little horse that could”. Tony Soprano loved a horse. This body of work is informed by the writings of the late American philosopher, poet and animal trainer Vicki Hearne, who speculated on the moral life of domestic animals, their lives in concert with humans and her profound belief that pets possess courage, wisdom and intellect. The title, In the Absence of Horses is taken from the title of a book and a poem by the late Ms Hearne. The poem touches on love and loss and the power of language and concludes with the line, “Here, in the grass, are horses.”
Tim Schouten - December 2004
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2008
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Not having been ceded to or purchased by us (Treaty 4)
Work ID: 79786
Description:
The Treaty 4 Suite (Adhesions - westward into the Indian country) [2008]
The works in this series come out of research and travel to Wuskwi Sipihk First Nation on Swan Lake, Manitoba, Sapotaweyak First Nation on Shoal River, Manitoba, to Fort Pelly in Saskatchewan and to Fort Walsh in the Cypress Hills. At each of these places, adhesions to Treaty No. 4 were signed in the three-year period following the initial Treaty signing at Qu’Appelle and Fort Ellice in 1874.
Treaty No. 4 covers much of the territory of southern Saskatchewan west of Treaty 2 territory as well as portions of Manitoba and Alberta. The title of the exhibition is taken from the, “Order in Council Setting Up Commission For Treaty No. 4, P. C. No. 944”. The Order recommended the establishment of a commission, “for the purpose of making Treaties during the current year with such of the Indian Bands as they may find it expedient to deal with” in a portion of the territories west of the western boundary of Treaty No. 2.
Reasons cited in the text as to the need for treaty, include, “the operations of the Boundary Commission which are continually moving westward into the Indian Country, and also the steps which are being taken in connection with the proposed Telegraph Line from Fort Garry westward, all of which proceedings are calculated to further unsettle the Indian mind, already in a disturbed condition”. The Order is signed by L.S. Huntingdon and was approved July 23, 1874.
Tim Schouten
Measurements: 91.44 x 60.96 cm
Collection:
Date Made: 2008
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on vellum
Virtual Collection: Original CCCA
Pay List – Treaty 4 (Fort Walsh)
Work ID: 79791
Description: Pay List (Treaty 4).
Measurements: 22.86 x 30.48 cm
Collection:
Date Made: 2008
Materials: oil, dry pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Pay List – Treaty 4 (Straight Blanket)
Work ID: 79794
Description: Pay List (Treaty 4).
Measurements: 22.86 x 30.48 cm
Collection:
Date Made: 2008
Materials: oil, dry pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Untitled 98 (In the Absence of Horses)
Work ID: 79881
Description:
In the Absence of Horses [2000-2008]
In The Absence of Horses is a series of one hundred small encaustic paintings based on images of horses. The series evolved out of a single initial image – a black horse rolling on its back after a long ride, hooves akimbo. So little a part of most peoples’ daily lives, horses retain an iconic and ubiquitous presence in the media. In many ways horses have all but disappeared from our culture except as emblematic entities inhabiting the contemporary psyche.
Where are the horses really? Still used in cattle ranching and in policing – a holdover role, now almost purely symbolic, horses are largely relegated to sports and entertainment roles in Western societies. They are in the rodeo, in circuses, in horse shows, at the races, on television, in movies, in songs, in poems – and in art. From Homer to Remington to Bruce Nauman and Maurizio Cattelan’s, The Ballad of Trotsky, a beautiful taxidermed horse slung from the ceiling which recently sold at Sotheby's for $2 million. The Kentucky Derby is always front page news – think, “Smarty Jones, the little horse that could”. Tony Soprano loved a horse. This body of work is informed by the writings of the late American philosopher, poet and animal trainer Vicki Hearne, who speculated on the moral life of domestic animals, their lives in concert with humans and her profound belief that pets possess courage, wisdom and intellect. The title, In the Absence of Horses is taken from the title of a book and a poem by the late Ms Hearne. The poem touches on love and loss and the power of language and concludes with the line, “Here, in the grass, are horses.”
Tim Schouten - December 2004
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2008
Materials: oil, pigment, gold leaf, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Nelson considered that all the reserves belonged to The Key Bands (Treaty 4)
Work ID: 79785
Description:
The Treaty 4 Suite (Adhesions - westward into the Indian country) [2008]
The works in this series come out of research and travel to Wuskwi Sipihk First Nation on Swan Lake, Manitoba, Sapotaweyak First Nation on Shoal River, Manitoba, to Fort Pelly in Saskatchewan and to Fort Walsh in the Cypress Hills. At each of these places, adhesions to Treaty No. 4 were signed in the three-year period following the initial Treaty signing at Qu’Appelle and Fort Ellice in 1874.
Treaty No. 4 covers much of the territory of southern Saskatchewan west of Treaty 2 territory as well as portions of Manitoba and Alberta. The title of the exhibition is taken from the, “Order in Council Setting Up Commission For Treaty No. 4, P. C. No. 944”. The Order recommended the establishment of a commission, “for the purpose of making Treaties during the current year with such of the Indian Bands as they may find it expedient to deal with” in a portion of the territories west of the western boundary of Treaty No. 2.
Reasons cited in the text as to the need for treaty, include, “the operations of the Boundary Commission which are continually moving westward into the Indian Country, and also the steps which are being taken in connection with the proposed Telegraph Line from Fort Garry westward, all of which proceedings are calculated to further unsettle the Indian mind, already in a disturbed condition”. The Order is signed by L.S. Huntingdon and was approved July 23, 1874.
Tim Schouten
Measurements: 91.44 x 60.96 cm
Collection:
Date Made: 2008
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on vellum
Virtual Collection: Original CCCA
Pay list – Treaty 4 (Boy Born)
Work ID: 79790
Description: Pay List (Treaty 4).
Measurements: 22.86 x 30.48 cm
Collection:
Date Made: 2008
Materials: oil, dry pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Untitled 117 (In the Absence of Horses)
Work ID: 79886
Description:
In the Absence of Horses [2000-2008]
In The Absence of Horses is a series of one hundred small encaustic paintings based on images of horses. The series evolved out of a single initial image – a black horse rolling on its back after a long ride, hooves akimbo. So little a part of most peoples’ daily lives, horses retain an iconic and ubiquitous presence in the media. In many ways horses have all but disappeared from our culture except as emblematic entities inhabiting the contemporary psyche.
Where are the horses really? Still used in cattle ranching and in policing – a holdover role, now almost purely symbolic, horses are largely relegated to sports and entertainment roles in Western societies. They are in the rodeo, in circuses, in horse shows, at the races, on television, in movies, in songs, in poems – and in art. From Homer to Remington to Bruce Nauman and Maurizio Cattelan’s, The Ballad of Trotsky, a beautiful taxidermed horse slung from the ceiling which recently sold at Sotheby's for $2 million. The Kentucky Derby is always front page news – think, “Smarty Jones, the little horse that could”. Tony Soprano loved a horse. This body of work is informed by the writings of the late American philosopher, poet and animal trainer Vicki Hearne, who speculated on the moral life of domestic animals, their lives in concert with humans and her profound belief that pets possess courage, wisdom and intellect. The title, In the Absence of Horses is taken from the title of a book and a poem by the late Ms Hearne. The poem touches on love and loss and the power of language and concludes with the line, “Here, in the grass, are horses.”
Tim Schouten - December 2004
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2008
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
In the lake and wood country (Treaty 4)
Work ID: 79783
Description:
The Treaty 4 Suite (Adhesions - westward into the Indian country) [2008]
The works in this series come out of research and travel to Wuskwi Sipihk First Nation on Swan Lake, Manitoba, Sapotaweyak First Nation on Shoal River, Manitoba, to Fort Pelly in Saskatchewan and to Fort Walsh in the Cypress Hills. At each of these places, adhesions to Treaty No. 4 were signed in the three-year period following the initial Treaty signing at Qu’Appelle and Fort Ellice in 1874.
Treaty No. 4 covers much of the territory of southern Saskatchewan west of Treaty 2 territory as well as portions of Manitoba and Alberta. The title of the exhibition is taken from the, “Order in Council Setting Up Commission For Treaty No. 4, P. C. No. 944”. The Order recommended the establishment of a commission, “for the purpose of making Treaties during the current year with such of the Indian Bands as they may find it expedient to deal with” in a portion of the territories west of the western boundary of Treaty No. 2.
Reasons cited in the text as to the need for treaty, include, “the operations of the Boundary Commission which are continually moving westward into the Indian Country, and also the steps which are being taken in connection with the proposed Telegraph Line from Fort Garry westward, all of which proceedings are calculated to further unsettle the Indian mind, already in a disturbed condition”. The Order is signed by L.S. Huntingdon and was approved July 23, 1874.
Tim Schouten
Measurements: 91.44 x 60.96 cm
Collection:
Date Made: 2008
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on vellum
Virtual Collection: Original CCCA
Pay List – Treaty 4 (Number paid)
Work ID: 79792
Description: Pay List (Treaty 4).
Measurements: 22.86 x 30.48 cm
Collection:
Date Made: 2008
Materials: oil, dry pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Beardy’s side (Treaty 4)
Work ID: 79781
Description:
The Treaty 4 Suite (Adhesions - westward into the Indian country) [2008]
The works in this series come out of research and travel to Wuskwi Sipihk First Nation on Swan Lake, Manitoba, Sapotaweyak First Nation on Shoal River, Manitoba, to Fort Pelly in Saskatchewan and to Fort Walsh in the Cypress Hills. At each of these places, adhesions to Treaty No. 4 were signed in the three-year period following the initial Treaty signing at Qu’Appelle and Fort Ellice in 1874.
Treaty No. 4 covers much of the territory of southern Saskatchewan west of Treaty 2 territory as well as portions of Manitoba and Alberta. The title of the exhibition is taken from the, “Order in Council Setting Up Commission For Treaty No. 4, P. C. No. 944”. The Order recommended the establishment of a commission, “for the purpose of making Treaties during the current year with such of the Indian Bands as they may find it expedient to deal with” in a portion of the territories west of the western boundary of Treaty No. 2.
Reasons cited in the text as to the need for treaty, include, “the operations of the Boundary Commission which are continually moving westward into the Indian Country, and also the steps which are being taken in connection with the proposed Telegraph Line from Fort Garry westward, all of which proceedings are calculated to further unsettle the Indian mind, already in a disturbed condition”. The Order is signed by L.S. Huntingdon and was approved July 23, 1874.
Tim Schouten
Measurements: 91.44 x 60.96 cm
Collection:
Date Made: 2008
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on vellum
Virtual Collection: Original CCCA
Att. Hunters Do Not Burn Wetlands Thank You (Treaty 4)
Work ID: 79780
Description:
The Treaty 4 Suite (Adhesions - westward into the Indian country) [2008]
The works in this series come out of research and travel to Wuskwi Sipihk First Nation on Swan Lake, Manitoba, Sapotaweyak First Nation on Shoal River, Manitoba, to Fort Pelly in Saskatchewan and to Fort Walsh in the Cypress Hills. At each of these places, adhesions to Treaty No. 4 were signed in the three-year period following the initial Treaty signing at Qu’Appelle and Fort Ellice in 1874.
Treaty No. 4 covers much of the territory of southern Saskatchewan west of Treaty 2 territory as well as portions of Manitoba and Alberta. The title of the exhibition is taken from the, “Order in Council Setting Up Commission For Treaty No. 4, P. C. No. 944”. The Order recommended the establishment of a commission, “for the purpose of making Treaties during the current year with such of the Indian Bands as they may find it expedient to deal with” in a portion of the territories west of the western boundary of Treaty No. 2.
Reasons cited in the text as to the need for treaty, include, “the operations of the Boundary Commission which are continually moving westward into the Indian Country, and also the steps which are being taken in connection with the proposed Telegraph Line from Fort Garry westward, all of which proceedings are calculated to further unsettle the Indian mind, already in a disturbed condition”. The Order is signed by L.S. Huntingdon and was approved July 23, 1874.
Tim Schouten
Measurements: 91.44 x 60.96 cm
Collection:
Date Made: 2008
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on vellum
Virtual Collection: Original CCCA
All ungranted or waste lands in the Province should be vested in the Crown (Treaty 4)
Work ID: 79779
Description:
The Treaty 4 Suite (Adhesions - westward into the Indian country) [2008]
The works in this series come out of research and travel to Wuskwi Sipihk First Nation on Swan Lake, Manitoba, Sapotaweyak First Nation on Shoal River, Manitoba, to Fort Pelly in Saskatchewan and to Fort Walsh in the Cypress Hills. At each of these places, adhesions to Treaty No. 4 were signed in the three-year period following the initial Treaty signing at Qu’Appelle and Fort Ellice in 1874.
Treaty No. 4 covers much of the territory of southern Saskatchewan west of Treaty 2 territory as well as portions of Manitoba and Alberta. The title of the exhibition is taken from the, “Order in Council Setting Up Commission For Treaty No. 4, P. C. No. 944”. The Order recommended the establishment of a commission, “for the purpose of making Treaties during the current year with such of the Indian Bands as they may find it expedient to deal with” in a portion of the territories west of the western boundary of Treaty No. 2.
Reasons cited in the text as to the need for treaty, include, “the operations of the Boundary Commission which are continually moving westward into the Indian Country, and also the steps which are being taken in connection with the proposed Telegraph Line from Fort Garry westward, all of which proceedings are calculated to further unsettle the Indian mind, already in a disturbed condition”. The Order is signed by L.S. Huntingdon and was approved July 23, 1874.
Tim Schouten
Measurements: 91.44 x 60.96 cm
Collection:
Date Made: 2008
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on vellum
Virtual Collection: Original CCCA
Pay List – Treaty 4 (Peggy)
Work ID: 79793
Description: Pay List (Treaty 4).
Measurements: 22.86 x 30.48 cm
Collection:
Date Made: 2008
Materials: oil, dry pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Pay List – Treaty 4 (Treaty No.)
Work ID: 79795
Description: Pay List (Treaty 4).
Measurements: 22.86 x 30.48 cm
Collection:
Date Made: 2008
Materials: oil, dry pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Our Lady of the Seven Sorrows (Treaty 4)
Work ID: 79787
Description:
The Treaty 4 Suite (Adhesions - westward into the Indian country) [2008]
The works in this series come out of research and travel to Wuskwi Sipihk First Nation on Swan Lake, Manitoba, Sapotaweyak First Nation on Shoal River, Manitoba, to Fort Pelly in Saskatchewan and to Fort Walsh in the Cypress Hills. At each of these places, adhesions to Treaty No. 4 were signed in the three-year period following the initial Treaty signing at Qu’Appelle and Fort Ellice in 1874.
Treaty No. 4 covers much of the territory of southern Saskatchewan west of Treaty 2 territory as well as portions of Manitoba and Alberta. The title of the exhibition is taken from the, “Order in Council Setting Up Commission For Treaty No. 4, P. C. No. 944”. The Order recommended the establishment of a commission, “for the purpose of making Treaties during the current year with such of the Indian Bands as they may find it expedient to deal with” in a portion of the territories west of the western boundary of Treaty No. 2.
Reasons cited in the text as to the need for treaty, include, “the operations of the Boundary Commission which are continually moving westward into the Indian Country, and also the steps which are being taken in connection with the proposed Telegraph Line from Fort Garry westward, all of which proceedings are calculated to further unsettle the Indian mind, already in a disturbed condition”. The Order is signed by L.S. Huntingdon and was approved July 23, 1874.
Tim Schouten
Measurements: 91.44 x 60.96 cm
Collection:
Date Made: 2008
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on vellum
Virtual Collection: Original CCCA
To the Cypress Hills (Treaty 4)
Work ID: 79789
Description:
The Treaty 4 Suite (Adhesions - westward into the Indian country) [2008]
The works in this series come out of research and travel to Wuskwi Sipihk First Nation on Swan Lake, Manitoba, Sapotaweyak First Nation on Shoal River, Manitoba, to Fort Pelly in Saskatchewan and to Fort Walsh in the Cypress Hills. At each of these places, adhesions to Treaty No. 4 were signed in the three-year period following the initial Treaty signing at Qu’Appelle and Fort Ellice in 1874.
Treaty No. 4 covers much of the territory of southern Saskatchewan west of Treaty 2 territory as well as portions of Manitoba and Alberta. The title of the exhibition is taken from the, “Order in Council Setting Up Commission For Treaty No. 4, P. C. No. 944”. The Order recommended the establishment of a commission, “for the purpose of making Treaties during the current year with such of the Indian Bands as they may find it expedient to deal with” in a portion of the territories west of the western boundary of Treaty No. 2.
Reasons cited in the text as to the need for treaty, include, “the operations of the Boundary Commission which are continually moving westward into the Indian Country, and also the steps which are being taken in connection with the proposed Telegraph Line from Fort Garry westward, all of which proceedings are calculated to further unsettle the Indian mind, already in a disturbed condition”. The Order is signed by L.S. Huntingdon and was approved July 23, 1874.
Tim Schouten
Measurements: 91.44 x 60.96 cm
Collection:
Date Made: 2008
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on vellum
Virtual Collection: Original CCCA
Self-Portrait as Milton at Age Ten Years
Work ID: 79887
Description: Other Works.
Measurements: 25.4 x 20.32 cm
Collection:
Date Made: 2008
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin, gold leaf on canvas
Virtual Collection: Original CCCA
Untitled 96 (In the Absence of Horses)
Work ID: 79880
Description:
In the Absence of Horses [2000-2008]
In The Absence of Horses is a series of one hundred small encaustic paintings based on images of horses. The series evolved out of a single initial image – a black horse rolling on its back after a long ride, hooves akimbo. So little a part of most peoples’ daily lives, horses retain an iconic and ubiquitous presence in the media. In many ways horses have all but disappeared from our culture except as emblematic entities inhabiting the contemporary psyche.
Where are the horses really? Still used in cattle ranching and in policing – a holdover role, now almost purely symbolic, horses are largely relegated to sports and entertainment roles in Western societies. They are in the rodeo, in circuses, in horse shows, at the races, on television, in movies, in songs, in poems – and in art. From Homer to Remington to Bruce Nauman and Maurizio Cattelan’s, The Ballad of Trotsky, a beautiful taxidermed horse slung from the ceiling which recently sold at Sotheby's for $2 million. The Kentucky Derby is always front page news – think, “Smarty Jones, the little horse that could”. Tony Soprano loved a horse. This body of work is informed by the writings of the late American philosopher, poet and animal trainer Vicki Hearne, who speculated on the moral life of domestic animals, their lives in concert with humans and her profound belief that pets possess courage, wisdom and intellect. The title, In the Absence of Horses is taken from the title of a book and a poem by the late Ms Hearne. The poem touches on love and loss and the power of language and concludes with the line, “Here, in the grass, are horses.”
Tim Schouten - December 2004
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2008
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Untitled 111 (In the Absence of Horses)
Work ID: 79884
Description:
In the Absence of Horses [2000-2008]
In The Absence of Horses is a series of one hundred small encaustic paintings based on images of horses. The series evolved out of a single initial image – a black horse rolling on its back after a long ride, hooves akimbo. So little a part of most peoples’ daily lives, horses retain an iconic and ubiquitous presence in the media. In many ways horses have all but disappeared from our culture except as emblematic entities inhabiting the contemporary psyche.
Where are the horses really? Still used in cattle ranching and in policing – a holdover role, now almost purely symbolic, horses are largely relegated to sports and entertainment roles in Western societies. They are in the rodeo, in circuses, in horse shows, at the races, on television, in movies, in songs, in poems – and in art. From Homer to Remington to Bruce Nauman and Maurizio Cattelan’s, The Ballad of Trotsky, a beautiful taxidermed horse slung from the ceiling which recently sold at Sotheby's for $2 million. The Kentucky Derby is always front page news – think, “Smarty Jones, the little horse that could”. Tony Soprano loved a horse. This body of work is informed by the writings of the late American philosopher, poet and animal trainer Vicki Hearne, who speculated on the moral life of domestic animals, their lives in concert with humans and her profound belief that pets possess courage, wisdom and intellect. The title, In the Absence of Horses is taken from the title of a book and a poem by the late Ms Hearne. The poem touches on love and loss and the power of language and concludes with the line, “Here, in the grass, are horses.”
Tim Schouten - December 2004
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2008
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Peguis
Work ID: 79800
Description: St. Peter’s Reserve Project.
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2009
Materials: oil, dry pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
You that want $90
Work ID: 79797
Description: St. Peter’s Reserve Project..
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2009
Materials: oil, dry pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
30 Canoes
Work ID: 79796
Description: St. Peter’s Reserve Project.
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2009
Materials: oil, dry pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Boundary (St. Peter’s)
Work ID: 79798
Description: St. Peter’s Reserve Project.
Measurements: 45.72 x 60.96 cm
Collection:
Date Made: 2009
Materials: oil, dry pigment, beeswax, microcrystalline wax, dammar resin on MDF
Virtual Collection: Original CCCA
Entitlement
Work ID: 79799
Description: St. Peter’s Reserve Project.
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2009
Materials: oil, dry pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Surrendered
Work ID: 79801
Description: St. Peter’s Reserve Project.
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2009
Materials: oil, dry pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Toto (Swimming)
Work ID: 79863
Description: Dogs.
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2010
Materials: oil, microcrystalline wax on plywood
Virtual Collection: Original CCCA
Two kids, one throwing (grey)
Work ID: 79823
Description:
The Spirit Lake Project (Landscapes) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2010
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on plywood
Virtual Collection: Original CCCA
Bear
Work ID: 79888
Description: Other Works.
Measurements: 67.31 x 60.96 cm
Collection:
Date Made: 2010
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on plywood
Virtual Collection: Original CCCA
Two kids, one throwing
Work ID: 79822
Description:
The Spirit Lake Project (Landscapes) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2010
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Daisy (Trodding)
Work ID: 79861
Description: Dogs.
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2010
Materials: oil, microcrystalline wax on plywood
Virtual Collection: Original CCCA
Cali (Leaping)
Work ID: 79860
Description: Dogs.
Measurements: 25.4 x 20.32 cm
Collection:
Date Made: 2010
Materials: oil, microcrystalline wax on canvas
Virtual Collection: Original CCCA
Daisy (Turning)
Work ID: 79862
Description: Dogs.
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2010
Materials: oil, microcrystalline wax on plywood
Virtual Collection: Original CCCA
A man fishing (grey)
Work ID: 79821
Description:
The Spirit Lake Project (Landscapes) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2010
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on plywood
Virtual Collection: Original CCCA
A kid between houses (grey)
Work ID: 79819
Description:
The Spirit Lake Project (Landscapes) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2010
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on plywood
Virtual Collection: Original CCCA
A kid between houses
Work ID: 79818
Description:
The Spirit Lake Project (Landscapes) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2010
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
A man fishing
Work ID: 79820
Description:
The Spirit Lake Project (Landscapes) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2010
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
robbierobertsonroberthoule
Work ID: 79890
Description: Other Works.
Measurements: 40.64 x 60.96 cm
Collection:
Date Made: 2010
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin, gold leaf on canvas
Virtual Collection: Original CCCA
Blue Building (Spirit Lake)
Work ID: 79829
Description:
The Spirit Lake Project (Landscapes) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 12.7 x 17.78 cm
Collection:
Date Made: 2011
Materials: watercolor on paper
Virtual Collection: Original CCCA
James Jetty
Work ID: 79802
Description:
The Spirit Lake Project (100 Faces) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 25.4 x 20.32 cm
Collection:
Date Made: 2011
Materials: acrylic on panel
Virtual Collection: Original CCCA
Spirit 1
Work ID: 79803
Description:
The Spirit Lake Project (100 Faces) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 25.4 x 20.32 cm
Collection:
Date Made: 2011
Materials: acrylic on panel
Virtual Collection: Original CCCA
Unknown Girl (Ft. Totten)
Work ID: 79804
Description:
The Spirit Lake Project (100 Faces) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 17.78 x 12.7 cm
Collection:
Date Made: 2011
Materials: watercolor on paper
Virtual Collection: Original CCCA
Batoche (First Shots)
Work ID: 79891
Description: Other Works.
Measurements: 40.64 x 60.96 cm
Collection:
Date Made: 2011
Materials: acrylic ink on handmade paper
Virtual Collection: Original CCCA
Devils Heart (Tokio Home)
Work ID: 79824
Description:
The Spirit Lake Project (Landscapes) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 45.72 x 60.96 cm
Collection:
Date Made: 2011-12
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Tokio (Spirit Lake)
Work ID: 79828
Description:
The Spirit Lake Project (Landscapes) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 60.96 x 45.72 cm
Collection:
Date Made: 2012
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on birch panel
Virtual Collection: Original CCCA
Laurel
Work ID: 79807
Description:
The Spirit Lake Project (100 Faces) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 25.4 x 20.32 cm
Collection:
Date Made: 2012
Materials: acrylic on panel
Virtual Collection: Original CCCA
Father (St. Michael’s)
Work ID: 79806
Description:
The Spirit Lake Project (100 Faces) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 25.4 x 20.32 cm
Collection:
Date Made: 2012
Materials: acrylic on panel
Virtual Collection: Original CCCA
Bloodvein River (Treaty 5)
Work ID: 79892
Description: Other Works.
Measurements: 152.4 x 167.64 cm
Collection:
Date Made: 2012
Materials: oil, pigment, charcoal, beeswax, microcrystalline wax, dammar resin, gold leaf, sand on canvas
Virtual Collection: Original CCCA
Russ Wallace
Work ID: 79808
Description:
The Spirit Lake Project (100 Faces) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 25.4 x 20.32 cm
Collection:
Date Made: 2012
Materials: acrylic on panel
Virtual Collection: Original CCCA
Cynthia Lindquist
Work ID: 79805
Description:
The Spirit Lake Project (100 Faces) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 25.4 x 20.32 cm
Collection:
Date Made: 2012
Materials: acrylic on panel
Virtual Collection: Original CCCA
Crow Hill Sundance
Work ID: 79831
Description:
The Spirit Lake Project (Landscapes) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 17.78 x 12.7 cm
Collection:
Date Made: 2012
Materials: watercolor on paper
Virtual Collection: Original CCCA
Fort Totten State Historic Site (Spirit Lake)
Work ID: 79825
Description:
The Spirit Lake Project (Landscapes) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 137.16 x 167.64 cm
Collection:
Date Made: 2012
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Robert Lives Here (Spirit Lake)
Work ID: 79827
Description:
The Spirit Lake Project (Landscapes) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 132.08 x 167.64 cm
Collection:
Date Made: 2012-13
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
White Privilege
Work ID: 79849
Description:
The Spirit Lake Project (Text Paintings) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2013
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Billy
Work ID: 79809
Description:
The Spirit Lake Project (100 Faces) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 25.4 x 20.32 cm
Collection:
Date Made: 2013
Materials: acrylic on panel
Virtual Collection: Original CCCA
John Chaske
Work ID: 79811
Description:
The Spirit Lake Project (100 Faces) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 25.4 x 20.32 cm
Collection:
Date Made: 2013
Materials: acrylic on panel
Virtual Collection: Original CCCA
John Hitchcock
Work ID: 79812
Description:
The Spirit Lake Project (100 Faces) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 25.4 x 20.32 cm
Collection:
Date Made: 2013
Materials: acrylic on panel
Virtual Collection: Original CCCA
Ice Fishing Shacks on Devil’s Lake
Work ID: 79835
Description:
The Spirit Lake Project (Landscapes) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 137.16 x 167.64 cm
Collection:
Date Made: 2013
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Allotments
Work ID: 79841
Description:
The Spirit Lake Project (Text Paintings) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2013
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Fee Land
Work ID: 79845
Description:
The Spirit Lake Project (Text Paintings) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2013
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Louis
Work ID: 79813
Description:
The Spirit Lake Project (100 Faces) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 25.4 x 20.32 cm
Collection:
Date Made: 2013
Materials: acrylic on panel
Virtual Collection: Original CCCA
Apart From Any Tribe
Work ID: 79842
Description:
The Spirit Lake Project (Text Paintings) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2013
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Wasicu
Work ID: 79826
Description:
The Spirit Lake Project (Landscapes) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 91.44 x 91.44 cm
Collection:
Date Made: 2013
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Inherit a 1/18th
Work ID: 79846
Description:
The Spirit Lake Project (Text Paintings) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2013
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Darla Thiele
Work ID: 79810
Description:
The Spirit Lake Project (100 Faces) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 25.4 x 20.32 cm
Collection:
Date Made: 2013
Materials: acrylic on panel
Virtual Collection: Original CCCA
Tribal Trust
Work ID: 79848
Description:
The Spirit Lake Project (Text Paintings) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2013
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Sold His Land
Work ID: 79847
Description:
The Spirit Lake Project (Text Paintings) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2013
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
The Blue Building (Spirit Lake)
Work ID: 79830
Description:
The Spirit Lake Project (Landscapes) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 106.68 x 121.92 cm
Collection:
Date Made: 2013-14
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Rider (Sunka Wakan Ah Ku)
Work ID: 79836
Description:
The Spirit Lake Project (Landscapes) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 137.16 x 167.64 cm
Collection:
Date Made: 2013-14
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Actual Settlers
Work ID: 79840
Description:
The Spirit Lake Project (Text Paintings) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2014
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Hilda and Louie’s Place
Work ID: 79837
Description:
The Spirit Lake Project (Landscapes) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 137.16 x 167.64 cm
Collection:
Date Made: 2014
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
At CCCC
Work ID: 79843
Description:
The Spirit Lake Project (Text Paintings) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2014
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Road Marker
Work ID: 79834
Description:
The Spirit Lake Project (Landscapes) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 106.68 x 121.92 cm
Collection:
Date Made: 2014
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Cottonwood Tree
Work ID: 79832
Description:
The Spirit Lake Project (Landscapes) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 121.92 x 106.68 cm
Collection:
Date Made: 2014
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
The Jetty Ranch
Work ID: 79838
Description:
The Spirit Lake Project (Landscapes) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 137.16 x 167.64 cm
Collection:
Date Made: 2014
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
An Uneasy Peace at Best
Work ID: 79833
Description:
The Spirit Lake Project (Landscapes) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 106.68 x 121.92 cm
Collection:
Date Made: 2014
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
North Dakota Museum of Art Installation Shot (Grid)
Work ID: 79817
Description:
The Spirit Lake Project (100 Faces) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Collection:
Date Made: 2014
Materials:
Virtual Collection: Original CCCA
Ceded Absolutely
Work ID: 79844
Description:
The Spirit Lake Project (Text Paintings) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 20.32 x 25.4 cm
Collection:
Date Made: 2014
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Chad Driver Senior
Work ID: 79815
Description:
The Spirit Lake Project (100 Faces) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 25.4 x 20.32 cm
Collection:
Date Made: 2014
Materials: acrylic on panel
Virtual Collection: Original CCCA
Four Winds (Spirit Lake)
Work ID: 79839
Description:
The Spirit Lake Project (Landscapes) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 137.16 x 167.64 cm
Collection:
Date Made: 2014
Materials: oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas
Virtual Collection: Original CCCA
Greg Holy Bull
Work ID: 79816
Description:
The Spirit Lake Project (100 Faces) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 25.4 x 20.32 cm
Collection:
Date Made: 2014
Materials: acrylic on panel
Virtual Collection: Original CCCA
Chad Driver Junior
Work ID: 79814
Description:
The Spirit Lake Project (100 Faces) [2011-2014]
In 2010 I was commissioned by the North Dakota Museum of Art in Grand Forks, ND to create a series of paintings reflecting on contemporary life on the Spirit Lake Reservation in North Dakota. I was one of six native and non-native artists engaged for this project by Laurel Rueter, Director and Curator of the museum. Laurel, a white woman, grew up on the reservation and her brother Russ, to this day lives and farms on the reservation on allotted land.
I was invited to this project on the reputation of my Treaty Lands Project, ongoing for ten years, which reflects on the nature of landscape and history in Canada’s Central regions.
I have spent the last four years travelling to Spirit Lake Dakota Nation and living off and on there for short periods, getting to know people and searching for ways into this project for myself as a non-native, Canadian artist who had never lived on or even visited an American reservation before and had only a passing knowledge of American politics, history and geography and the American Indian movement.
In 2012 NDMOA received additional funding for this project from the Robert Rauschenberg Foundation’s Artistic Innovation and Collaboration Grant Program, leading to further collaborations with Cankdeska Cikana Community College in Spirit Lake. Presentations of the exhibition, Songs for Spirit Lake, took place in 2013 at the Rauschenberg Project Space in New York City and at Cankdeska Cikana Community College; and in 2014 at the North Dakota Museum of Art.
My work for this project has produced several series of landscape paintings, a series of portraits and a series of text paintings. The portraits and text paintings have been acquired by NDMOA for its collection.
Tim Schouten - February 2014
Measurements: 25.4 x 20.32 cm
Collection:
Date Made: 2014
Materials: acrylic on panel
Virtual Collection: Original CCCA
