National Gallery Curator Greg Hill to Speak at the WAG on Carl Beam Exhibition

Greg Hill, Audain Curator of Indigenous Art at the National Gallery of Canada, will speak at the Winnipeg Art Gallery about the exhibition Carl Beam which he curated for the NGC. Hill’s first talk will take place at Art for Lunch at 12:10, Wednesday, July 13, with the second one at 7:30pm, Thursday, July 14. Both talks are included with Gallery admission.

Hill, a Kayen’kahaka (Mohawk) of the Six Nations of the Grand River Territory, joined the National Gallery in 2002 as Assistant Curator, Contemporary Art, specializing in the development and creation of collections of Aboriginal art. He was appointed Audain Curator of Indigenous Art in 2007.

Carl Beam (1943-2005) challenged the art world, questioning why contemporary Aboriginal art was marginalized to ethnographic presentations and not respected on an equal footing with other forms of contemporary Canadian Art. He drew upon his Anishinabek traditions through the recognition of the important role of dreams, the place of spirit helpers, and the lessons of his Aboriginal ancestry. His work bridges the philosophies and traditions of both Western and Anishinabek worlds.

Carl Beam consists of 48 of Beam’s most remarkable works featuring his powerful, large-scale paintings, sensitive ceramics, and highly personal constructions. It includes The North American Iceberg, purchased by the National Gallery of Canada as the gallery’s first acquisition of an artwork created by a contemporary First Nations artist. It has become recognized as a coming of age for contemporary Indigenous art in Canada.

Carl Beam has been organized and circulated by the National Gallery of Canada. It is sponsored by Manitoba Hydro, the Winnipeg Free Press, and Pattison Outdoor Advertising.

Approaching its centenary in 2012, the Winnipeg Art Gallery is Canada’s oldest civic art gallery and Manitoba’s leading visual arts institution. With a collection of over 24,000 objects spanning many centuries and cultures—including the world’s largest collection of contemporary Inuit art—the WAG is constantly moving between the historical and the contemporary in an effort to engage a growing public with the power of art in our lives.



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