By McPherson’s Dock (Treaty 3)

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2000

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Untitled 36 (In the Absence of Horses)

Artist: Tim Schouten

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

Des mesures : 22.86 x 30.48 cm

Collection:

Date de réalisation : 2000

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Untitled 23 (In the Absence of Horses)

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2000

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Untitled 21 (In the Absence of Horses)

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2000

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Untitled 3 (In the Absence of Horses)

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2000

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Untitled 18 (In the Absence of Horses)

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2000

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Untitled 20 (In the Absence of Horses)

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2000

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Untitled 9 (In the Absence of Horses)

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2000

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Untitled 2 (In the Absence of Horses)

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2000

Matériaux : oil, microcrystalline wax on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Untitled 39 (In the Absence of Horses)

Artist: Tim Schouten

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

Des mesures : 22.86 x 30.48 cm

Collection:

Date de réalisation : 2002

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Untitled 55 (In the Absence of Horses)

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2002

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Untitled 41 (In the Absence of Horses)

Artist: Tim Schouten

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

Des mesures : 22.86 x 30.48 cm

Collection:

Date de réalisation : 2002

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Untitled 40 (In the Absence of Horses)

Artist: Tim Schouten

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

Des mesures : 22.86 x 30.48 cm

Collection:

Date de réalisation : 2002

Matériaux : oil, pigment, gold leaf, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Toto Circling

Artist: Tim Schouten

ID : 79859

Description: Dogs.

Des mesures : 18.415 x 13.335 cm

Collection:

Date de réalisation : 2003

Matériaux : oil, microcrystalline wax on plywood

Collection virtuelle : Original CCCA

Ajouter à la liste

Untitled 64 (In the Absence of Horses)

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2003

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

IR #12 (Bloodvein, Treaty 5)

Artist: Tim Schouten

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.

Des mesures : 106.68 x 121.92 cm

Collection:

Date de réalisation : 2003

Matériaux : oil on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Toto Dog

Artist: Tim Schouten

ID : 79857

Description: Dogs.

Des mesures : 18.415 x 13.335 cm

Collection:

Date de réalisation : 2003

Matériaux : oil, microcrystalline wax on plywood

Collection virtuelle : Original CCCA

Ajouter à la liste

Untitled 57 (In the Absence of Horses)

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2003

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

3:40 p.m., August 9, 2001 (Treaty 1)

Artist: Tim Schouten

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.

Des mesures : 60.96 x 76.2 cm

Collection:

Date de réalisation : 2003

Matériaux : oil on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Untitled 67 (In the Absence of Horses)

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2003

Matériaux : oil, microcrystalline wax on canvas

Collection virtuelle : Original CCCA

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2:20 p.m., March 9, 2001 (Treaty 5)

Artist: Tim Schouten

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.

Des mesures : 60.96 x 76.2 cm

Collection:

Date de réalisation : 2003

Matériaux : oil on canvas

Collection virtuelle : Original CCCA

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Cat Dog

Artist: Tim Schouten

ID : 79858

Description: Dogs.

Des mesures : 18.415 x 13.335 cm

Collection:

Date de réalisation : 2003

Matériaux : oil, microcrystalline wax on plywood

Collection virtuelle : Original CCCA

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7:30 p.m., August 9, 2001 (Treaty 1)

Artist: Tim Schouten

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.

Des mesures : 60.96 x 76.2 cm

Collection:

Date de réalisation : 2003

Matériaux : oil on canvas

Collection virtuelle : Original CCCA

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No Trespassing: Indian Country (Treaty 7)

Artist: Tim Schouten

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.

Des mesures : 60.96 x 71.12 cm

Collection:

Date de réalisation : 2003

Matériaux : oil on canvas

Collection virtuelle : Original CCCA

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Daisy Dog

Artist: Tim Schouten

ID : 79856

Description: Dogs.

Des mesures : 18.415 x 13.335 cm

Collection:

Date de réalisation : 2003

Matériaux : oil, microcrystalline wax on plywood

Collection virtuelle : Original CCCA

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5:20 p.m., August 9, 2001 (Treaty 1)

Artist: Tim Schouten

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.

Des mesures : 60.96 x 76.2 cm

Collection:

Date de réalisation : 2003

Matériaux : oil on canvas

Collection virtuelle : Original CCCA

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Tourist (Treaty 1)

Artist: Tim Schouten

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

Des mesures : 91.44 x 101.6 cm

Collection:

Date de réalisation : 2004

Matériaux : oil, microcrystalline wax on canvas

Collection virtuelle : Original CCCA

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Coming Ashore (Treaty 2)

Artist: Tim Schouten

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

Des mesures :

Collection:

Date de réalisation : 2004

Matériaux : oil, microcrystalline wax on canvas

Collection virtuelle : Original CCCA

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Reserved (Treaty 1)

Artist: Tim Schouten

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

Des mesures : 91.44 x 101.6 cm

Collection:

Date de réalisation : 2004

Matériaux : oil, microcrystalline wax on canvas

Collection virtuelle : Original CCCA

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Bridge (Treaties 1 & 2)

Artist: Tim Schouten

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

Des mesures :

Collection:

Date de réalisation : 2004

Matériaux : oil, microcrystalline wax on canvas

Collection virtuelle : Original CCCA

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Outside the Stone Fort (Treaty 1)

Artist: Tim Schouten

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

Des mesures : 60.96 x 71.12 cm

Collection:

Date de réalisation : 2004

Matériaux : oil, microcrystalline wax on canvas

Collection virtuelle : Original CCCA

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River Path (Treaty 1)

Artist: Tim Schouten

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

Des mesures : 91.44 x 101.6 cm

Collection:

Date de réalisation : 2004

Matériaux : oil, microcrystalline wax on canvas

Collection virtuelle : Original CCCA

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Highway (Treaty 1)

Artist: Tim Schouten

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

Des mesures : 60.96 x 71.12 cm

Collection:

Date de réalisation : 2004

Matériaux : oil, microcrystalline wax on canvas

Collection virtuelle : Original CCCA

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Little Saskatchewan River/Gaawiikwedaawangaag (Treaties 1 & 2)

Artist: Tim Schouten

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

Des mesures :

Collection:

Date de réalisation : 2004

Matériaux : oil, microcrystalline wax on canvas

Collection virtuelle : Original CCCA

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Sun Dogs (Treaty 1)

Artist: Tim Schouten

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

Des mesures : 101.6 x 106.68 cm

Collection:

Date de réalisation : 2004

Matériaux : oil, microcrystalline wax on canvas

Collection virtuelle : Original CCCA

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Lot 19, Kinosota (Treaty 2)

Artist: Tim Schouten

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

Des mesures :

Collection:

Date de réalisation : 2004

Matériaux : oil, microcrystalline wax on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Facing North (Treaty1)

Artist: Tim Schouten

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

Des mesures : 60.96 x 71.12 cm

Collection:

Date de réalisation : 2004

Matériaux : oil, microcrystalline wax on canvas

Collection virtuelle : Original CCCA

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Red Sash (Treaty 1)

Artist: Tim Schouten

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

Des mesures : 60.96 x 71.12 cm

Collection:

Date de réalisation : 2004

Matériaux : oil, microcrystalline wax on canvas

Collection virtuelle : Original CCCA

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Rail Yard, Brandon – Looking Westward (Treaty 1)

Artist: Tim Schouten

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

Des mesures :

Collection:

Date de réalisation : 2004

Matériaux : oil, microcrystalline wax on canvas

Collection virtuelle : Original CCCA

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Wall and Turret (Treaty 1)

Artist: Tim Schouten

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

Des mesures : 81.28 x 106.68 cm

Collection:

Date de réalisation : 2004

Matériaux : oil, microcrystalline wax on canvas

Collection virtuelle : Original CCCA

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Studio Winter (Treaty 1)

Artist: Tim Schouten

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

Des mesures : 91.44 x 121.92 cm

Collection:

Date de réalisation : 2004

Matériaux : oil, microcrystalline wax on canvas

Collection virtuelle : Original CCCA

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Children’s Hour (for Caroline – Treaty 1)

Artist: Tim Schouten

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

Des mesures : 81.28 x 91.44 cm

Collection:

Date de réalisation : 2004

Matériaux : oil, microcrystalline wax on canvas

Collection virtuelle : Original CCCA

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The Storyteller (Treaty 2)

Artist: Tim Schouten

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

Des mesures : huile, cire microcristalline sur toile

Collection:

Date de réalisation : 2004

Matériaux :

Collection virtuelle : Original CCCA

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Sugar Island (Treaty 2)

Artist: Tim Schouten

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

Des mesures :

Collection:

Date de réalisation : 2004

Matériaux : oil, microcrystalline wax on canvas

Collection virtuelle : Original CCCA

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Rec Centre, Ebb & Flow (Treaty 2)

Artist: Tim Schouten

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

Des mesures :

Collection:

Date de réalisation : 2004

Matériaux : oil, microcrystalline wax on canvas

Collection virtuelle : Original CCCA

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Along the Road to Kinosota (Treaty 2)

Artist: Tim Schouten

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

Des mesures :

Collection:

Date de réalisation : 2004

Matériaux : oil, microcrystalline wax on canvas

Collection virtuelle : Original CCCA

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Red Sash (Treaties 1 & 2)

Artist: Tim Schouten

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

Des mesures :

Collection:

Date de réalisation : 2004

Matériaux : oil, microcrystalline wax on canvas

Collection virtuelle : Original CCCA

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By virtue of their Indian blood (Treaty 3)

Artist: Tim Schouten

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

Des mesures : 121.92 x 152.4 cm

Collection:

Date de réalisation : 2006

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

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Buketey Island (Treaty 3)

Artist: Tim Schouten

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

Des mesures : 121.92 x 91.44 cm

Collection:

Date de réalisation : 2006

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Artist: Tim Schouten

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

Des mesures : 121.92 x 91.44 cm

Collection:

Date de réalisation : 2006

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Harrison Creek (Treaty 3)

Artist: Tim Schouten

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

Des mesures : 167.64 x 137.16 cm

Collection:

Date de réalisation : 2006

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Highway 17 between Kenora and Sioux Lookout near IR 27 on Eagle Lake (Treaty 3)

Artist: Tim Schouten

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

Des mesures : 121.92 x 152.4 cm

Collection:

Date de réalisation : 2006

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Dawson Trail (Treaty 3)

Artist: Tim Schouten

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

Des mesures : 60.96 x 81.28 cm

Collection:

Date de réalisation : 2006

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Buffalo Point (Treaty 3)

Artist: Tim Schouten

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

Des mesures : 60.96 x 76.2 cm

Collection:

Date de réalisation : 2006

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Camp at Harrison Creek (Treaty 3)

Artist: Tim Schouten

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

Des mesures : 45.72 x 60.96 cm

Collection:

Date de réalisation : 2006

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Highway 17, between Kenora and Sioux Lookout near Feist Lake (Treaty 3)

Artist: Tim Schouten

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

Des mesures : 121.92 x 152.4 cm

Collection:

Date de réalisation : 2006

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Train Stop, Fort Francis (Treaty 3)

Artist: Tim Schouten

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

Des mesures : 91.44 x 152.4 cm

Collection:

Date de réalisation : 2006

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

The Qu’Appelle River (Treaty 4)

Artist: Tim Schouten

ID : 79777

Description: The Treaty 4 Suite.

Des mesures : 21.59 x 27.94 cm

Collection:

Date de réalisation : 2007

Matériaux : oil, pigment, beeswax, microcrystalline wax on vellum

Collection virtuelle : Original CCCA

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Fort Ellice 1879 – from a photograph by G. M. Dawson, RB-3956 Archives of Saskatchewan (Treaty 4)

Artist: Tim Schouten

ID : 79770

Description: The Treaty 4 Suite.

Des mesures : 91.44 x 60.96 cm

Collection:

Date de réalisation : 2007

Matériaux : oil, pigment, beeswax, microcrystalline wax on vellum

Collection virtuelle : Original CCCA

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The Treaty 4 Governance Centre at Fort Qu’Appelle SK

Artist: Tim Schouten

ID : 79776

Description: The Treaty 4 Suite.

Des mesures : 21.59 x 27.94 cm

Collection:

Date de réalisation : 2007

Matériaux : oil, pigment, beeswax, microcrystalline wax on vellum

Collection virtuelle : Original CCCA

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Bridge over the Qu’Appelle River near the old Hudson Bay Post in Fort Qu’Appelle

Artist: Tim Schouten

ID : 79769

Description: The Treaty 4 Suite.

Des mesures : 21.59 x 27.94 cm

Collection:

Date de réalisation : 2007

Matériaux : oil, pigment, beeswax, microcrystalline wax on vellum

Collection virtuelle : Original CCCA

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The Fort Ellice monument – Treaty 4 was signed here on September 21, 1874

Artist: Tim Schouten

ID : 79774

Description: The Treaty 4 Suite.

Des mesures : 21.59 x 27.94 cm

Collection:

Date de réalisation : 2007

Matériaux : oil, pigment, beeswax, microcrystalline wax on vellum

Collection virtuelle : Original CCCA

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The past shimmers at the Wahpiimoostoosis Healing Centre in Lebret SK

Artist: Tim Schouten

ID : 79775

Description: The Treaty 4 Suite.

Des mesures : 21.59 x 27.94 cm

Collection:

Date de réalisation : 2007

Matériaux : oil, pigment, beeswax, microcrystalline wax on vellum

Collection virtuelle : Original CCCA

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Traces of the Lebret Industrial School in Lebret SK

Artist: Tim Schouten

ID : 79773

Description: The Treaty 4 Suite.

Des mesures : 21.59 x 27.94 cm

Collection:

Date de réalisation : 2007

Matériaux : oil, pigment, beeswax, microcrystalline wax on vellum

Collection virtuelle : Original CCCA

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Fort Ellice 2006 (Treaty 4)

Artist: Tim Schouten

ID : 79771

Description: The Treaty 4 Suite.

Des mesures : 91.44 x 60.96 cm

Collection:

Date de réalisation : 2007

Matériaux : oil, pigment, beeswax, microcrystalline wax on vellum

Collection virtuelle : Original CCCA

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Kids outside the Pow-Wow circle at the annual Treaty 4 Gathering at Fort Qu’Appelle

Artist: Tim Schouten

ID : 79772

Description: The Treaty 4 Suite.

Des mesures : 21.59 x 27.94 cm

Collection:

Date de réalisation : 2007

Matériaux : oil, pigment, beeswax, microcrystalline wax on vellum

Collection virtuelle : Original CCCA

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further westward

Artist: Tim Schouten

ID : 79778

Description: The Treaty 4 Suite.

Des mesures : 21.59 x 27.94 cm

Collection:

Date de réalisation : 2007

Matériaux : oil, pigment, beeswax, microcrystalline wax on vellum

Collection virtuelle : Original CCCA

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Untitled 113 (In the Absence of Horses)

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2008

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Continually moving westward into the Indian country (Treaty 4)

Artist: Tim Schouten

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

Des mesures : 91.44 x 60.96 cm

Collection:

Date de réalisation : 2008

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on vellum

Collection virtuelle : Original CCCA

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Settlement, mining or other purposes (Treaty 4)

Artist: Tim Schouten

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

Des mesures : 91.44 x 60.96 cm

Collection:

Date de réalisation : 2008

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on vellum

Collection virtuelle : Original CCCA

Ajouter à la liste

Untitled 110 (In the Absence of Horses)

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2008

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

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Interpretation (Treaty 4)

Artist: Tim Schouten

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

Des mesures : 91.44 x 60.96 cm

Collection:

Date de réalisation : 2008

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on vellum

Collection virtuelle : Original CCCA

Ajouter à la liste

Untitled 102 (In the Absence of Horses)

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2008

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Not having been ceded to or purchased by us (Treaty 4)

Artist: Tim Schouten

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

Des mesures : 91.44 x 60.96 cm

Collection:

Date de réalisation : 2008

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on vellum

Collection virtuelle : Original CCCA

Ajouter à la liste

Pay List – Treaty 4 (Fort Walsh)

Artist: Tim Schouten

ID : 79791

Description: Pay List (Treaty 4).

Des mesures : 22.86 x 30.48 cm

Collection:

Date de réalisation : 2008

Matériaux : oil, dry pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

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Pay List – Treaty 4 (Straight Blanket)

Artist: Tim Schouten

ID : 79794

Description: Pay List (Treaty 4).

Des mesures : 22.86 x 30.48 cm

Collection:

Date de réalisation : 2008

Matériaux : oil, dry pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Untitled 98 (In the Absence of Horses)

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2008

Matériaux : oil, pigment, gold leaf, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Nelson considered that all the reserves belonged to The Key Bands (Treaty 4)

Artist: Tim Schouten

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

Des mesures : 91.44 x 60.96 cm

Collection:

Date de réalisation : 2008

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on vellum

Collection virtuelle : Original CCCA

Ajouter à la liste

Pay list – Treaty 4 (Boy Born)

Artist: Tim Schouten

ID : 79790

Description: Pay List (Treaty 4).

Des mesures : 22.86 x 30.48 cm

Collection:

Date de réalisation : 2008

Matériaux : oil, dry pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Untitled 117 (In the Absence of Horses)

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2008

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

In the lake and wood country (Treaty 4)

Artist: Tim Schouten

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

Des mesures : 91.44 x 60.96 cm

Collection:

Date de réalisation : 2008

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on vellum

Collection virtuelle : Original CCCA

Ajouter à la liste

Pay List – Treaty 4 (Number paid)

Artist: Tim Schouten

ID : 79792

Description: Pay List (Treaty 4).

Des mesures : 22.86 x 30.48 cm

Collection:

Date de réalisation : 2008

Matériaux : oil, dry pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Beardy’s side (Treaty 4)

Artist: Tim Schouten

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

Des mesures : 91.44 x 60.96 cm

Collection:

Date de réalisation : 2008

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on vellum

Collection virtuelle : Original CCCA

Ajouter à la liste

Att. Hunters Do Not Burn Wetlands Thank You (Treaty 4)

Artist: Tim Schouten

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

Des mesures : 91.44 x 60.96 cm

Collection:

Date de réalisation : 2008

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on vellum

Collection virtuelle : Original CCCA

Ajouter à la liste

All ungranted or waste lands in the Province should be vested in the Crown (Treaty 4)

Artist: Tim Schouten

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

Des mesures : 91.44 x 60.96 cm

Collection:

Date de réalisation : 2008

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on vellum

Collection virtuelle : Original CCCA

Ajouter à la liste

Pay List – Treaty 4 (Peggy)

Artist: Tim Schouten

ID : 79793

Description: Pay List (Treaty 4).

Des mesures : 22.86 x 30.48 cm

Collection:

Date de réalisation : 2008

Matériaux : oil, dry pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Pay List – Treaty 4 (Treaty No.)

Artist: Tim Schouten

ID : 79795

Description: Pay List (Treaty 4).

Des mesures : 22.86 x 30.48 cm

Collection:

Date de réalisation : 2008

Matériaux : oil, dry pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Our Lady of the Seven Sorrows (Treaty 4)

Artist: Tim Schouten

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

Des mesures : 91.44 x 60.96 cm

Collection:

Date de réalisation : 2008

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on vellum

Collection virtuelle : Original CCCA

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To the Cypress Hills (Treaty 4)

Artist: Tim Schouten

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

Des mesures : 91.44 x 60.96 cm

Collection:

Date de réalisation : 2008

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on vellum

Collection virtuelle : Original CCCA

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Self-Portrait as Milton at Age Ten Years

Artist: Tim Schouten

ID : 79887

Description: Other Works.

Des mesures : 25.4 x 20.32 cm

Collection:

Date de réalisation : 2008

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin, gold leaf on canvas

Collection virtuelle : Original CCCA

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Untitled 96 (In the Absence of Horses)

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2008

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

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Untitled 111 (In the Absence of Horses)

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2008

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

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Peguis

Artist: Tim Schouten

ID : 79800

Description: St. Peter’s Reserve Project.

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2009

Matériaux : oil, dry pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

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You that want $90

Artist: Tim Schouten

ID : 79797

Description: St. Peter’s Reserve Project..

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2009

Matériaux : oil, dry pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

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30 Canoes

Artist: Tim Schouten

ID : 79796

Description: St. Peter’s Reserve Project.

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2009

Matériaux : oil, dry pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

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Boundary (St. Peter’s)

Artist: Tim Schouten

ID : 79798

Description: St. Peter’s Reserve Project.

Des mesures : 45.72 x 60.96 cm

Collection:

Date de réalisation : 2009

Matériaux : oil, dry pigment, beeswax, microcrystalline wax, dammar resin on MDF

Collection virtuelle : Original CCCA

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Entitlement

Artist: Tim Schouten

ID : 79799

Description: St. Peter’s Reserve Project.

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2009

Matériaux : oil, dry pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

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Surrendered

Artist: Tim Schouten

ID : 79801

Description: St. Peter’s Reserve Project.

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2009

Matériaux : oil, dry pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

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Toto (Swimming)

Artist: Tim Schouten

ID : 79863

Description: Dogs.

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2010

Matériaux : oil, microcrystalline wax on plywood

Collection virtuelle : Original CCCA

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Two kids, one throwing (grey)

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2010

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on plywood

Collection virtuelle : Original CCCA

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Bear

Artist: Tim Schouten

ID : 79888

Description: Other Works.

Des mesures : 67.31 x 60.96 cm

Collection:

Date de réalisation : 2010

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on plywood

Collection virtuelle : Original CCCA

Ajouter à la liste

Two kids, one throwing

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2010

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

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Daisy (Trodding)

Artist: Tim Schouten

ID : 79861

Description: Dogs.

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2010

Matériaux : oil, microcrystalline wax on plywood

Collection virtuelle : Original CCCA

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Cali (Leaping)

Artist: Tim Schouten

ID : 79860

Description: Dogs.

Des mesures : 25.4 x 20.32 cm

Collection:

Date de réalisation : 2010

Matériaux : oil, microcrystalline wax on canvas

Collection virtuelle : Original CCCA

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Daisy (Turning)

Artist: Tim Schouten

ID : 79862

Description: Dogs.

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2010

Matériaux : oil, microcrystalline wax on plywood

Collection virtuelle : Original CCCA

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A man fishing (grey)

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2010

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on plywood

Collection virtuelle : Original CCCA

Ajouter à la liste

A kid between houses (grey)

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2010

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on plywood

Collection virtuelle : Original CCCA

Ajouter à la liste

A kid between houses

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2010

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

A man fishing

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2010

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

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robbierobertsonroberthoule

Artist: Tim Schouten

ID : 79890

Description: Other Works.

Des mesures : 40.64 x 60.96 cm

Collection:

Date de réalisation : 2010

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin, gold leaf on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Blue Building (Spirit Lake)

Artist: Tim Schouten

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

Des mesures : 12.7 x 17.78 cm

Collection:

Date de réalisation : 2011

Matériaux : watercolor on paper

Collection virtuelle : Original CCCA

Ajouter à la liste

James Jetty

Artist: Tim Schouten

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

Des mesures : 25.4 x 20.32 cm

Collection:

Date de réalisation : 2011

Matériaux : acrylic on panel

Collection virtuelle : Original CCCA

Ajouter à la liste

Spirit 1

Artist: Tim Schouten

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

Des mesures : 25.4 x 20.32 cm

Collection:

Date de réalisation : 2011

Matériaux : acrylic on panel

Collection virtuelle : Original CCCA

Ajouter à la liste

Unknown Girl (Ft. Totten)

Artist: Tim Schouten

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

Des mesures : 17.78 x 12.7 cm

Collection:

Date de réalisation : 2011

Matériaux : watercolor on paper

Collection virtuelle : Original CCCA

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Batoche (First Shots)

Artist: Tim Schouten

ID : 79891

Description: Other Works.

Des mesures : 40.64 x 60.96 cm

Collection:

Date de réalisation : 2011

Matériaux : acrylic ink on handmade paper

Collection virtuelle : Original CCCA

Ajouter à la liste

Devils Heart (Tokio Home)

Artist: Tim Schouten

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

Des mesures : 45.72 x 60.96 cm

Collection:

Date de réalisation : 2011-12

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

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Tokio (Spirit Lake)

Artist: Tim Schouten

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

Des mesures : 60.96 x 45.72 cm

Collection:

Date de réalisation : 2012

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on birch panel

Collection virtuelle : Original CCCA

Ajouter à la liste

Laurel

Artist: Tim Schouten

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

Des mesures : 25.4 x 20.32 cm

Collection:

Date de réalisation : 2012

Matériaux : acrylic on panel

Collection virtuelle : Original CCCA

Ajouter à la liste

Father (St. Michael’s)

Artist: Tim Schouten

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

Des mesures : 25.4 x 20.32 cm

Collection:

Date de réalisation : 2012

Matériaux : acrylic on panel

Collection virtuelle : Original CCCA

Ajouter à la liste

Bloodvein River (Treaty 5)

Artist: Tim Schouten

ID : 79892

Description: Other Works.

Des mesures : 152.4 x 167.64 cm

Collection:

Date de réalisation : 2012

Matériaux : oil, pigment, charcoal, beeswax, microcrystalline wax, dammar resin, gold leaf, sand on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Russ Wallace

Artist: Tim Schouten

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

Des mesures : 25.4 x 20.32 cm

Collection:

Date de réalisation : 2012

Matériaux : acrylic on panel

Collection virtuelle : Original CCCA

Ajouter à la liste

Cynthia Lindquist

Artist: Tim Schouten

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

Des mesures : 25.4 x 20.32 cm

Collection:

Date de réalisation : 2012

Matériaux : acrylic on panel

Collection virtuelle : Original CCCA

Ajouter à la liste

Crow Hill Sundance

Artist: Tim Schouten

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

Des mesures : 17.78 x 12.7 cm

Collection:

Date de réalisation : 2012

Matériaux : watercolor on paper

Collection virtuelle : Original CCCA

Ajouter à la liste

Fort Totten State Historic Site (Spirit Lake)

Artist: Tim Schouten

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

Des mesures : 137.16 x 167.64 cm

Collection:

Date de réalisation : 2012

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Robert Lives Here (Spirit Lake)

Artist: Tim Schouten

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

Des mesures : 132.08 x 167.64 cm

Collection:

Date de réalisation : 2012-13

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

White Privilege

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2013

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Billy

Artist: Tim Schouten

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

Des mesures : 25.4 x 20.32 cm

Collection:

Date de réalisation : 2013

Matériaux : acrylic on panel

Collection virtuelle : Original CCCA

Ajouter à la liste

John Chaske

Artist: Tim Schouten

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

Des mesures : 25.4 x 20.32 cm

Collection:

Date de réalisation : 2013

Matériaux : acrylic on panel

Collection virtuelle : Original CCCA

Ajouter à la liste

John Hitchcock

Artist: Tim Schouten

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

Des mesures : 25.4 x 20.32 cm

Collection:

Date de réalisation : 2013

Matériaux : acrylic on panel

Collection virtuelle : Original CCCA

Ajouter à la liste

Ice Fishing Shacks on Devil’s Lake

Artist: Tim Schouten

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

Des mesures : 137.16 x 167.64 cm

Collection:

Date de réalisation : 2013

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Allotments

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2013

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Fee Land

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2013

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Louis

Artist: Tim Schouten

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

Des mesures : 25.4 x 20.32 cm

Collection:

Date de réalisation : 2013

Matériaux : acrylic on panel

Collection virtuelle : Original CCCA

Ajouter à la liste

Apart From Any Tribe

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2013

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Wasicu

Artist: Tim Schouten

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

Des mesures : 91.44 x 91.44 cm

Collection:

Date de réalisation : 2013

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Inherit a 1/18th

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2013

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Darla Thiele

Artist: Tim Schouten

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

Des mesures : 25.4 x 20.32 cm

Collection:

Date de réalisation : 2013

Matériaux : acrylic on panel

Collection virtuelle : Original CCCA

Ajouter à la liste

Tribal Trust

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2013

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Sold His Land

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2013

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

The Blue Building (Spirit Lake)

Artist: Tim Schouten

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

Des mesures : 106.68 x 121.92 cm

Collection:

Date de réalisation : 2013-14

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Rider (Sunka Wakan Ah Ku)

Artist: Tim Schouten

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

Des mesures : 137.16 x 167.64 cm

Collection:

Date de réalisation : 2013-14

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Actual Settlers

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2014

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Hilda and Louie’s Place

Artist: Tim Schouten

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

Des mesures : 137.16 x 167.64 cm

Collection:

Date de réalisation : 2014

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

At CCCC

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2014

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Road Marker

Artist: Tim Schouten

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

Des mesures : 106.68 x 121.92 cm

Collection:

Date de réalisation : 2014

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Cottonwood Tree

Artist: Tim Schouten

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

Des mesures : 121.92 x 106.68 cm

Collection:

Date de réalisation : 2014

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

The Jetty Ranch

Artist: Tim Schouten

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

Des mesures : 137.16 x 167.64 cm

Collection:

Date de réalisation : 2014

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

An Uneasy Peace at Best

Artist: Tim Schouten

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

Des mesures : 106.68 x 121.92 cm

Collection:

Date de réalisation : 2014

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

North Dakota Museum of Art Installation Shot (Grid)

Artist: Tim Schouten

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

Des mesures :

Collection:

Date de réalisation : 2014

Matériaux :

Collection virtuelle : Original CCCA

Ajouter à la liste

Ceded Absolutely

Artist: Tim Schouten

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

Des mesures : 20.32 x 25.4 cm

Collection:

Date de réalisation : 2014

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

Ajouter à la liste

Chad Driver Senior

Artist: Tim Schouten

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

Des mesures : 25.4 x 20.32 cm

Collection:

Date de réalisation : 2014

Matériaux : acrylic on panel

Collection virtuelle : Original CCCA

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Four Winds (Spirit Lake)

Artist: Tim Schouten

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

Des mesures : 137.16 x 167.64 cm

Collection:

Date de réalisation : 2014

Matériaux : oil, pigment, beeswax, microcrystalline wax, dammar resin on canvas

Collection virtuelle : Original CCCA

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Greg Holy Bull

Artist: Tim Schouten

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

Des mesures : 25.4 x 20.32 cm

Collection:

Date de réalisation : 2014

Matériaux : acrylic on panel

Collection virtuelle : Original CCCA

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Chad Driver Junior

Artist: Tim Schouten

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

Des mesures : 25.4 x 20.32 cm

Collection:

Date de réalisation : 2014

Matériaux : acrylic on panel

Collection virtuelle : Original CCCA

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By McPherson’s Dock (Treaty 3)

Oeuvre d'art par Tim Schouten