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== Teresa Marshall == = Teresa Marshall =


== Biography == == Biography ==
'''Teresa Marshall''' was born in 1962 in Truro, in the province of ]. She is a multimedia artist, which includes sculptures and installations. She is associated with the ] people and was raised on the Millbrook Reserve as well as on a military base.<ref name=":0">{{Cite web|url=https://www.yumpu.com/en/document/read/19132162/teresa-marshall-75-years-of-collecting-vancouver-art-gallery|title=Teresa Marshall - 75 Years of Collecting - Vancouver Art Gallery|last=Yumpu.com|website=yumpu.com|language=en|access-date=2020-02-18}}</ref> She comes from two cultures, ] on her mom's side and Canadian on her dad's. Her works show and describe the affects of racism and ] on the First Nations people.<ref name=":2" /> Coming from two different backgrounds, Marshall has the ability to show both the indigenous and non-native perspectives of her native community and how they are affected. '''Teresa Marshall''' was born in 1962 in Truro, located in province of ]. She is a multimedia artist, which includes sculptures and installations. She is associated with the ] people and was raised on the Millbrook Reserve as well as on a military base.<ref name=":0">{{Cite web|url=https://www.yumpu.com/en/document/read/19132162/teresa-marshall-75-years-of-collecting-vancouver-art-gallery|title=Teresa Marshall - 75 Years of Collecting - Vancouver Art Gallery|last=Yumpu.com|website=yumpu.com|language=en|access-date=2020-02-18}}</ref> She was born into two different cultures. ] on her mom's side and Canadian on her dad's. Her works show and describe the affects of racism and ] on the First Nations people.<ref name=":2" /> Coming from two different backgrounds, Marshall has the ability to show both the indigenous and non-native perspectives of her native community and how they were affected.


== Education == == Education ==
Marshall's father was in the military and because of this she went to school on the bases. This is where she would go to school during the year to learn her normal education and then would go to the reserve during the summer. During this time she would wonder why the different communities were always going against each other. The school on base would describe the stereotypical Native American attire and culture, but when she would go to the reserve, what she saw was completely different.<ref>{{Cite web|url=http://ccca.concordia.ca/c/writing/n/nemiroff/nem005t.html|title=Diana Nemiroff on Teresa Marshall|website=ccca.concordia.ca|access-date=2020-02-18}}</ref> Marshall's father was apart of the military and for this reason she attended school on the bases. This is where she would go to school during the year to get her education and then would go to the reserve during the summer. During this time she would wonder why the different communities were always going against each other. The school on base would describe the stereotypical Native American attire and culture, but when she would go to the reserve, what she saw was completely different.<ref>{{Cite web|url=http://ccca.concordia.ca/c/writing/n/nemiroff/nem005t.html|title=Diana Nemiroff on Teresa Marshall|website=ccca.concordia.ca|access-date=2020-02-18}}</ref>


After primary and secondary education Marshall studied at the ]<ref name=":0" />. Then after her time at NSCAD, she continued to study theater at ].<ref name=":1">{{Cite web|url=https://contemporaryartfellowship.eiteljorg.org/past-contemporary-art-fellowships/2001-fellowship-after-the-storm/|title=2001 Fellowship: After The Storm|website=Eiteljorg Museum|language=en-US|access-date=2020-02-18}}</ref> After primary and secondary education Marshall studied at the ]<ref name=":0" />. Then after her time at NSCAD, she continued to study theater at ].<ref name=":1">{{Cite web|url=https://contemporaryartfellowship.eiteljorg.org/past-contemporary-art-fellowships/2001-fellowship-after-the-storm/|title=2001 Fellowship: After The Storm|website=Eiteljorg Museum|language=en-US|access-date=2020-02-18}}</ref>
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=== Hide and Seek The Souls You Keep Locked Away in God's Closet === === Hide and Seek The Souls You Keep Locked Away in God's Closet ===
This piece is from Marshall's exhibition ''Red Rising Hoods'' at the Cape Breton University Art Gallery. The art piece shows "nine tiny coffins open to reveal red shrouded figures, each buried within a pane of glass in a church window."<ref name=":2" /> The red figures represent the Mi'kmaq people, during the scalping bounties, who died for the hunting of their scalps for a sum of money. Then over the window, shutters hang and close to represent the lost memory the Canadian government has for the crime against the First Nations people.<ref name=":2">{{Cite web|url=http://www.capebretonpost.com/lifestyles/teresa-marshalls-art-examines-uncomfortable-history-246823/|title=Teresa Marshall’s art examines uncomfortable history {{!}} Cape Breton Post|last=Patterson|first=Elizabeth|website=www.capebretonpost.com|language=en|access-date=2020-02-18}}</ref> This piece is from Marshall's exhibition ''Red Rising Hoods'' at the Cape Breton University Art Gallery. The art piece shows "nine tiny coffins open to reveal red shrouded figures, each buried within a pane of glass in a church window."<ref name=":2" /> The red figures represent the Mi'kmaq people, during the scalping bounties, who died for the hunting of their scalps for a sum of money. Then over the window, shutters hang and close to represent the lost memory the Canadian government has for the crime made against the First Nations people.<ref name=":2">{{Cite web|url=http://www.capebretonpost.com/lifestyles/teresa-marshalls-art-examines-uncomfortable-history-246823/|title=Teresa Marshall’s art examines uncomfortable history {{!}} Cape Breton Post|last=Patterson|first=Elizabeth|website=www.capebretonpost.com|language=en|access-date=2020-02-18}}</ref>


=== Elitekey === === Elitekey ===


This piece was located at the National Gallery of Canada Land, Spirit, and Power Exhibition. For this installation Marshall created three statues that represent the absence of communication between the Canadian Army and the Mohawk people in 1990. The installation includes three statues made of concrete. One of a half raised Canadian flag that had a cut out of the maple leaf. Diagonal to it was a figure wearing traditional clothing of the Native group, representing a person of that culture but had no body parts with the clothing. Between the two sculptures was a canoe that for the Mohawks was an important symbol of hope. However, when the conflict in 1990 happened between the Mohawks and the Canadian government, that symbol of hope turned into something that would be used against them. <ref name=":3">{{Cite book|last=Ord|first=Douglas|url=https://books.google.com/books?id=lIUPghtfGyIC&newbks=1&newbks_redir=0&lpg=PA392&dq=Teresa%20Marshall&pg=PA390#v=onepage&q=Teresa%20Marshall&f=false|title=The National Gallery of Canada: Ideas, Art, Architecture|last2=Canada (Ottawa)|first2=National Gallery of|date=2003|publisher=McGill-Queen's Press - MQUP|isbn=978-0-7735-2509-2|language=en}}</ref> Marshall believes that the Canadian government has suppressed the First Nations people and has done a great injustice to them. Which is why the statue of the flag shows it half raised with the missing maple leaf. <br /> This piece was located at the National Gallery of Canada ''Land, Spirit, and Power'' Exhibition. For this installation Marshall created three statues that represent the absence of communication between the Canadian Army and the ] people in the year 1990. The installation includes three statues made of concrete. One of a half raised Canadian flag that had a cut out of the maple leaf. Diagonal to it was a figure wearing traditional clothing of the Native group, representing a person of that culture but had no body parts with the clothing. Between the two sculptures was a canoe that for the Mohawks was an important symbol of hope. However, when the conflict in 1990 happened between the Mohawks and the Canadian government, that symbol of hope turned into something that would be used against them. <ref name=":3">{{Cite book|last=Ord|first=Douglas|url=https://books.google.com/books?id=lIUPghtfGyIC&newbks=1&newbks_redir=0&lpg=PA392&dq=Teresa%20Marshall&pg=PA390#v=onepage&q=Teresa%20Marshall&f=false|title=The National Gallery of Canada: Ideas, Art, Architecture|last2=Canada (Ottawa)|first2=National Gallery of|date=2003|publisher=McGill-Queen's Press - MQUP|isbn=978-0-7735-2509-2|language=en}}</ref> Marshall believes that the Canadian government has suppressed the First Nations people and has done a great injustice to them. Which is why the statue of the flag shows it half raised with the missing maple leaf.

=== Meta Sage ===
The ''Meta Sage'' is a sculpture of a very large, four feet tall, thread spool.<ref name=":4">{{Cite journal|last=Acland|first=Joan|date=1998|title=Elitekey; The Artistic Production of Mi'kmaq Women|url=http://www.jstor.org/stable/42630589|journal=RACAR: revue d'art canadienne / Canadian Art Review|volume=25|issue=1/2|pages=3–11|issn=0315-9906}}</ref> The sculpture includes the thread spool, four needles, and thread. The materials used for the spool itself include yellow cedar wood, and tobacco.<ref name=":4" /> The four needles each at a length of three feet were made of many types of stone. These stones include black granite, red sandstone, white marble, and yellow limestone.<ref name=":4" /> With thread connecting the spool and four needles, the artwork is laid out by the needles circling the spool.<ref name=":4" />

Marshall explains that the sculpture was inspired by the Mi'kmaq legend that tells the migration story of people.<ref name=":4" /> The spool was carved to represent the medicine wheels described in the story.<ref name=":4" /> The sculpture was also used to tell an important story involving women. The sculpture was an object that women would use throughout their daily work.<ref name=":4" /> It symbolizes the history of these women and the conversations that they would tell each other as they working on the different types materials.<ref name=":4" />

=== Bering Strait Jacket ===
The ''Bering Strait Jacket'' is a clothing art piece that Marshall created in 1993. It is a dark blue, pin-stripped, size 42 jacket.<ref name=":4" /> The sleeves on the jacket are significantly long, and have buckles on them that were put on to embody a ]. On the silk lining of the jacket is a passage from the 1752 Indian Treaty.<ref name=":4" /> The treaty was made to stop the killings of the Mi'kmaq people for their territory.<ref name=":4" /> Before the treaty was made colonizers invaded the Mi'kmaq people's land and were ordered to kill them to take control of their territory.<ref name=":4" /> Even after the treaty was formed colonizers continued to take over Mi'kmaq people's land and disassembled their way of life.<ref name=":4" /> Thus the symbolism of the restraint buckles Marshall created, to show the colonizers history of restricting and decolonizing Mi'kmaq and native groups.<ref name=":4" />

On the contrary to that explanation, Marshall also intended for the jacket to have a completely different meaning as well. The jacket is designed similarly to ones of colonizing authority and also the jackets the Europeans would gift to their native allies.
<br />
== Exhibitions == == Exhibitions ==


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#Patterson, Elizabeth. “Teresa Marshall's Art Examines Uncomfortable History: Cape Breton Post.” ''Lifestyles | Cape Breton Post'', 3 Oct. 2018, www.capebretonpost.com/lifestyles/teresa-marshalls-art-examines-uncomfortable-history-246823/. #Patterson, Elizabeth. “Teresa Marshall's Art Examines Uncomfortable History: Cape Breton Post.” ''Lifestyles | Cape Breton Post'', 3 Oct. 2018, www.capebretonpost.com/lifestyles/teresa-marshalls-art-examines-uncomfortable-history-246823/.
# Ord , Douglas. “The National Gallery of Canada.” ''Google Books'', Google, books.google.com/books?id=lIUPghtfGyIC&newbks=1&newbks_redir=0&lpg=PA392&dq=Teresa%2BMarshall&pg=PA390#v=onepage&q=Teresa%20Marshall&f=false. # Ord , Douglas. “The National Gallery of Canada.” ''Google Books'', Google, books.google.com/books?id=lIUPghtfGyIC&newbks=1&newbks_redir=0&lpg=PA392&dq=Teresa%2BMarshall&pg=PA390#v=onepage&q=Teresa%20Marshall&f=false.
#Acland, Joan. “Elitekey; The Artistic Production of Mi'kmaq Women.” RACAR: Revue D'art Canadienne / Canadian Art Review, vol. 25, no. 1/2, 1998, pp. 3–11. JSTOR, www.jstor.org/stable/42630589. Accessed 3 Mar. 2020.
#Townsend-Gault, Charlotte. "Translation or Perversion?: Showing First Nations Art in Canada." ''Cultural Studies'' 9.1 (1995): 91-105.

#


== See Also == == See Also ==

Revision as of 07:46, 3 March 2020

Teresa Marshall

Biography

Teresa Marshall was born in 1962 in Truro, located in province of Nova Scotia, Canada. She is a multimedia artist, which includes sculptures and installations. She is associated with the First Nations people and was raised on the Millbrook Reserve as well as on a military base. She was born into two different cultures. Mi'kmaq on her mom's side and Canadian on her dad's. Her works show and describe the affects of racism and neocolonialism on the First Nations people. Coming from two different backgrounds, Marshall has the ability to show both the indigenous and non-native perspectives of her native community and how they were affected.

Education

Marshall's father was apart of the military and for this reason she attended school on the bases. This is where she would go to school during the year to get her education and then would go to the reserve during the summer. During this time she would wonder why the different communities were always going against each other. The school on base would describe the stereotypical Native American attire and culture, but when she would go to the reserve, what she saw was completely different.

After primary and secondary education Marshall studied at the Nova Scotia College of Art and Design. Then after her time at NSCAD, she continued to study theater at Dalhousie University.

Artworks

Hide and Seek The Souls You Keep Locked Away in God's Closet

This piece is from Marshall's exhibition Red Rising Hoods at the Cape Breton University Art Gallery. The art piece shows "nine tiny coffins open to reveal red shrouded figures, each buried within a pane of glass in a church window." The red figures represent the Mi'kmaq people, during the scalping bounties, who died for the hunting of their scalps for a sum of money. Then over the window, shutters hang and close to represent the lost memory the Canadian government has for the crime made against the First Nations people.

Elitekey

This piece was located at the National Gallery of Canada Land, Spirit, and Power Exhibition. For this installation Marshall created three statues that represent the absence of communication between the Canadian Army and the Mohawk people in the year 1990. The installation includes three statues made of concrete. One of a half raised Canadian flag that had a cut out of the maple leaf. Diagonal to it was a figure wearing traditional clothing of the Native group, representing a person of that culture but had no body parts with the clothing. Between the two sculptures was a canoe that for the Mohawks was an important symbol of hope. However, when the conflict in 1990 happened between the Mohawks and the Canadian government, that symbol of hope turned into something that would be used against them. Marshall believes that the Canadian government has suppressed the First Nations people and has done a great injustice to them. Which is why the statue of the flag shows it half raised with the missing maple leaf.

Meta Sage

The Meta Sage is a sculpture of a very large, four feet tall, thread spool. The sculpture includes the thread spool, four needles, and thread. The materials used for the spool itself include yellow cedar wood, and tobacco. The four needles each at a length of three feet were made of many types of stone. These stones include black granite, red sandstone, white marble, and yellow limestone. With thread connecting the spool and four needles, the artwork is laid out by the needles circling the spool.

Marshall explains that the sculpture was inspired by the Mi'kmaq legend that tells the migration story of people. The spool was carved to represent the medicine wheels described in the story. The sculpture was also used to tell an important story involving women. The sculpture was an object that women would use throughout their daily work. It symbolizes the history of these women and the conversations that they would tell each other as they working on the different types materials.

Bering Strait Jacket

The Bering Strait Jacket is a clothing art piece that Marshall created in 1993. It is a dark blue, pin-stripped, size 42 jacket. The sleeves on the jacket are significantly long, and have buckles on them that were put on to embody a strait jacket. On the silk lining of the jacket is a passage from the 1752 Indian Treaty. The treaty was made to stop the killings of the Mi'kmaq people for their territory. Before the treaty was made colonizers invaded the Mi'kmaq people's land and were ordered to kill them to take control of their territory. Even after the treaty was formed colonizers continued to take over Mi'kmaq people's land and disassembled their way of life. Thus the symbolism of the restraint buckles Marshall created, to show the colonizers history of restricting and decolonizing Mi'kmaq and native groups.

On the contrary to that explanation, Marshall also intended for the jacket to have a completely different meaning as well. The jacket is designed similarly to ones of colonizing authority and also the jackets the Europeans would gift to their native allies.

Exhibitions

  • Red Rising Hoods: Cape Breton University Art Gallery (2018)
  • 75 Years of Collecting: First Nations: Myths and Realities: Vancouver Art Gallery (2006)
  • Recollect: Vancouver Art Gallery (1999-2000)
  • Topographies: Aspects of Recent B.C. Art: Vancouver Art Gallery (1996-1997)
  • Band Strands: Thunder Bay Art Gallery (1997)
  • Land, Spirit, Power: The National Gallery of Canada (1992)

Collections

Honors and Awards

  • Eiteljorg Contemporary Art Fellowship (After The Storm) 2001

References

  1. Yumpu.com. “Teresa Marshall - 75 Years of Collecting - Vancouver Art Gallery.” Yumpu.com, www.yumpu.com/en/document/read/19132162/teresa-marshall-75-years-of-collecting-vancouver-art-gallery.
  2. Diana Nemiroff on Teresa Marshall, ccca.concordia.ca/c/writing/n/nemiroff/nem005t.html.
  3. “2001 Fellowship: After The Storm.” Eiteljorg Museum, 16 Aug. 1970, contemporaryartfellowship.eiteljorg.org/past-contemporary-art-fellowships/2001-fellowship-after-the-storm/.
  4. Patterson, Elizabeth. “Teresa Marshall's Art Examines Uncomfortable History: Cape Breton Post.” Lifestyles | Cape Breton Post, 3 Oct. 2018, www.capebretonpost.com/lifestyles/teresa-marshalls-art-examines-uncomfortable-history-246823/.
  5. Ord , Douglas. “The National Gallery of Canada.” Google Books, Google, books.google.com/books?id=lIUPghtfGyIC&newbks=1&newbks_redir=0&lpg=PA392&dq=Teresa%2BMarshall&pg=PA390#v=onepage&q=Teresa%20Marshall&f=false.
  6. Acland, Joan. “Elitekey; The Artistic Production of Mi'kmaq Women.” RACAR: Revue D'art Canadienne / Canadian Art Review, vol. 25, no. 1/2, 1998, pp. 3–11. JSTOR, www.jstor.org/stable/42630589. Accessed 3 Mar. 2020.
  7. Townsend-Gault, Charlotte. "Translation or Perversion?: Showing First Nations Art in Canada." Cultural Studies 9.1 (1995): 91-105.

See Also

External Links

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  1. ^ Yumpu.com. "Teresa Marshall - 75 Years of Collecting - Vancouver Art Gallery". yumpu.com. Retrieved 2020-02-18.
  2. ^ Patterson, Elizabeth. "Teresa Marshall's art examines uncomfortable history | Cape Breton Post". www.capebretonpost.com. Retrieved 2020-02-18.
  3. "Diana Nemiroff on Teresa Marshall". ccca.concordia.ca. Retrieved 2020-02-18.
  4. ^ "2001 Fellowship: After The Storm". Eiteljorg Museum. Retrieved 2020-02-18.
  5. ^ Ord, Douglas; Canada (Ottawa), National Gallery of (2003). The National Gallery of Canada: Ideas, Art, Architecture. McGill-Queen's Press - MQUP. ISBN 978-0-7735-2509-2.
  6. ^ Acland, Joan (1998). "Elitekey; The Artistic Production of Mi'kmaq Women". RACAR: revue d'art canadienne / Canadian Art Review. 25 (1/2): 3–11. ISSN 0315-9906.