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| == Biography == | == Biography == | ||
| '''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. | '''Teresa Marshall''' was born in 1962 in the town Truro, located in the province of ].<ref name=":0" /> She is a multimedia artist, which includes sculptures and installations. She also enjoys making poetry and writing playwrights.<ref name=":1" /> 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 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. |
Marshall's father was apart of the military and for this reason she attended school on the bases.<ref name=":5">{{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> 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.<ref name=":5" /> At school she would learn about the Native people, but it was different then what she had learned on the reserve.<ref name=":5" /> Experiencing both communities allowed her to gain knowledge of both the indigenous and non-indigenous world.<ref name=":5" /> This has helped her build perspective, which she shows through her artwork. | ||
| After primary and secondary education Marshall studied at the ]<ref name=":0" /> |
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> | ||
| == Artworks == | == Artworks == | ||
| === 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 |
This piece is from Marshall's exhibition ''Red Rising Hoods'' at the Cape Breton University Art Gallery. The art piece shows a church window that has nine coffins inside of it.<ref name=":2" /> Once opened the coffins have red figures inside of them.<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 ] 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 |
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.<ref name=":3" /> 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.<ref name=":3" /> 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 wanted to showcase the suppression the Canadian government put upon the First Nations people and the injustices done to them. Which is why the statue of the flag shows it half raised with the missing maple leaf. | ||
| === Meta Sage === | === Meta Sage === | ||
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| 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" /> | 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 |
On the contrary, 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 the ones the Europeans would gift to the Mi'kmaq people.<ref name=":4" /> For this reason the women would take these jackets and embellish them with beads and other traditional aesthetics.<ref name=":4" /> The disruption of lives for the Mi'kmaq continued, but in spite of the continuous colonizing they endured they retaliated. They were refurbish the jackets with Indian aesthetics and resell them back to the Europeans as a sign of resilience against the forced culture put upon them.<ref name=":4" /> | ||
| <br /> | |||
| == Exhibitions == | == Exhibitions == | ||
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| # 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. | #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. | ||
| ⚫ | |||
| # | # | ||
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| * ] | * ] | ||
| * ] | * ] | ||
| ⚫ | *Townsend-Gault, Charlotte. "Translation or Perversion?: Showing First Nations Art in Canada." ''Cultural Studies'' 9.1 (1995): 91-105. | ||
| == External Links == | == External Links == | ||
Revision as of 19:28, 3 March 2020
Teresa Marshall
Biography
Teresa Marshall was born in 1962 in the town Truro, located in the province of Nova Scotia, Canada. She is a multimedia artist, which includes sculptures and installations. She also enjoys making poetry and writing playwrights. 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. At school she would learn about the Native people, but it was different then what she had learned on the reserve. Experiencing both communities allowed her to gain knowledge of both the indigenous and non-indigenous world. This has helped her build perspective, which she shows through her artwork.
After primary and secondary education Marshall studied at the Nova Scotia College of Art and Design (NSCAD).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 a church window that has nine coffins inside of it. Once opened the coffins have red figures inside of them. 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 wanted to showcase the suppression the Canadian government put upon the First Nations people and the injustices done 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, 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 the ones the Europeans would gift to the Mi'kmaq people. For this reason the women would take these jackets and embellish them with beads and other traditional aesthetics. The disruption of lives for the Mi'kmaq continued, but in spite of the continuous colonizing they endured they retaliated. They were refurbish the jackets with Indian aesthetics and resell them back to the Europeans as a sign of resilience against the forced culture put upon them.
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
- Vancouver Art Gallery
- Thunder Bay Art Gallery
- Cape Breton University Art Gallery
- National Gallery of Canada
Honors and Awards
- Eiteljorg Contemporary Art Fellowship (After The Storm) 2001
References
- 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.
- Diana Nemiroff on Teresa Marshall, ccca.concordia.ca/c/writing/n/nemiroff/nem005t.html.
- “2001 Fellowship: After The Storm.” Eiteljorg Museum, 16 Aug. 1970, contemporaryartfellowship.eiteljorg.org/past-contemporary-art-fellowships/2001-fellowship-after-the-storm/.
- 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.
- 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.
See Also
- Mi'kmaq
- First Nations people
- Neocolonialism
- Native American Art
- Townsend-Gault, Charlotte. "Translation or Perversion?: Showing First Nations Art in Canada." Cultural Studies 9.1 (1995): 91-105.
External Links
 | This is a user sandbox of Teresa Marshall. You can use it for testing or practicing edits. This is not the sandbox where you should draft your assigned article for a dashboard.wikiedu.org course. To find the right sandbox for your assignment, visit your Dashboard course page and follow the Sandbox Draft link for your assigned article in the My Articles section. Get Help |
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- ^ Yumpu.com. "Teresa Marshall - 75 Years of Collecting - Vancouver Art Gallery". yumpu.com. Retrieved 2020-02-18.
- ^ "2001 Fellowship: After The Storm". Eiteljorg Museum. Retrieved 2020-02-18.
- ^ Patterson, Elizabeth. "Teresa Marshall's art examines uncomfortable history | Cape Breton Post". www.capebretonpost.com. Retrieved 2020-02-18.
- ^ "Diana Nemiroff on Teresa Marshall". ccca.concordia.ca. Retrieved 2020-02-18.
- ^ 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.
- ^ 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.