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Adrienne Huard

Adrienne Huard is a Two-Spirit/Indigiqueer Anishinaabekwe registered at Couchiching First Nation, Ontario, and born and raised in Winnipeg. After graduating in 2012 from the University of Manitoba with a bachelor of fine arts majoring in photography, she pursued a bachelor of fine arts in art history at Concordia University in Tiohtià:ke/Montreal. Huard graduated from Concordia in April 2018 and went on to complete OCAD University’s graduate-level program in criticism and curatorial practice. In September 2020, she began the PhD-level program in Indigenous studies at University of Manitoba. Huard’s research focuses on desire within Two-Spirit and queer Indigenous visual culture, specifically located on the Prairies. Her goal is to highlight these practices, which are often overlooked by the contemporary art world, while pushing to make them more accessible for Indigenous artists to participate. Huard curated her first program of queer Indigenous/Two-Spirit short films—titled Kinship and Closeness, co-presented by MEDIAQUEER.CA—which toured extensively across Canada in 2018. Since then, she has developed a curatorial collective, gijiit, alongside her collaborators Jas M. Morgan and Dayna Danger, who continue to work between Montreal and Toronto. Huard was Canadian Art’s Summer 2018 editorial resident, and is honoured to continue her journey with the publication as an editor-at-large.
The Vibrational Effects of Indigenous Burlesque

The Vibrational Effects of Indigenous Burlesque

Performers find ways to celebrate Indigenous sexual expression through visual storytelling

A Conversation with Whess Harman, the New Curator at grunt gallery

A Conversation with Whess Harman, the New Curator at grunt gallery

Keeping community engagement at the forefront, they speak about upcoming goals in their new position—and centring accessibility with Queer ASL and more

Embracing the Uncertainty of the Earth with Jeneen Frei Njootli

Embracing the Uncertainty of the Earth with Jeneen Frei Njootli

In their latest solo show, Jeneen Frei Njootli spoke to the loving yet trying dependency that we, as Indigenous people, can have in connection to ancestral territories

This Issue: Sovereignty

This Issue: Sovereignty

We are the new Indigenous editors-at-large at Canadian Art, and we are beyond excited to introduce this very special issue that celebrates Indigenous voices, creativity and sovereignty

How the World’s Largest Indigenous Media Arts Festival Went Online

How the World’s Largest Indigenous Media Arts Festival Went Online

From paying artists the highest fees ever, to prerecording opening parties and other events, artistic director Niki Little explains how community still came first

Dee Barsy

Dee Barsy

Urban Shaman: Contemporary Aboriginal Art Gallery, Winnipeg, September 6 to October 26, 2019

Shuvinai Ashoona

Shuvinai Ashoona

The Power Plant, Toronto, January 26 to May 12, 2019

Soap Stone and 3D-Printing

Soap Stone and 3D-Printing

Jade Nasogaluak Carpenter and Jesse Tungilik participate in self-directed studio residencies in Inuvik and Banff as part of the TD North/South Artist Exchange

A Conversation with Jordan Bennett

A Conversation with Jordan Bennett

This year's Sobey Art Award finalist animates Mi'kmaq creation stories and petroglyphs in his largest public artwork to date

Toronto Art Book Fair

Toronto Art Book Fair

Chinatown Centre Mall, Toronto, July 5–8, 2018

After SLĀV, Some Next Steps

After SLĀV, Some Next Steps

The Montreal Jazz Festival has cancelled SLĀV. What needs to be eliminated next is systemic bias in the arts

Tunirrusiangit: Kenojuak Ashevak and Tim Pitsiulak

Tunirrusiangit: Kenojuak Ashevak and Tim Pitsiulak

Art Gallery of Ontario, Toronto, June 16–August 12, 2018

An Indigenous Woman’s View of the National Gallery of Canada

An Indigenous Woman’s View of the National Gallery of Canada

Approaching the gallery, I felt both intimidated and cynical about its efforts to blend Canadian and Indigenous art collections. But then, things changed

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