Duane Linklater works across a range of mediums to address the contradictions of contemporary Indigenous life within and beyond settler systems of knowledge, representation, and value. This survey exhibition brings together sculptures, video works, and digital prints on linen from the last decade of the artist’s practice, as well as new adaptations of key installations and site-responsive pieces created for the occasion. Staged as a series of juxtapositions that evolve through small modifications, the presentation embodies the indeterminacy and open-endedness that have been vital aspects of Linklater’s approach.
Duane Linklater: mymothersside
Duane Linklater, The place I seek to go, 2014. Coyote fur, garment rack, hanger, flat-screen TV, Apple Mac mini, digital video, cables, 132 x 66 x 20 in. Collection of Remai Modern, Saskatoon, Canada. Purchased with the support of the Canada Council for the Arts Acquisition Grants program, 2016. © Duane Linklater.
Duane Linklater, Blueberries for 15 vessels, 2012/2021. Blueberry bushes, clay, earth. Dimensions variable. Courtesy of the artist. © Duane Linklater. Photo: Eat Pomegranate Photography
Duane Linklater, boys don’t cry, 2017. Digital prints on hand-dyed linen. 122 13/16 x 172 13/16 inches. Art Gallery of Ontario. © Duane Linklater. Courtesy of Catriona Jeffries, Vancouver. Photo: Dennis Ha
Duane Linklater, can the circle be unbroken 1, 2, 4, and 5, 2019. Digital prints on linen. Dimensions variable. © Duane Linklater. Photo: Don Ross
Duane Linklater. dislodgevanishskinground, 2019. Twelve painted tepee poles, steel cable, charcoal, rope, digital print on linen (black tea, blueberry extract, sumac, charcoal). 220 x 174 x 174 in. © Duane Linklater. Courtesy of Catriona Jeffries, Vancouver. Photo: Daniel Pérez
Duane Linklater, what grief conjures, 2020. Painted tepee poles, nylon rope, wooden pallet, refrigerator, tie-down straps, hand truck, plastic statue, handmade hoodie with cochineal dye, silk-screen ink. 249 x 160 x 160 in. © Duane Linklater. Courtesy of Catriona Jeffries, Vancouver. Photo: Rachel Topham Photography
1964
Philip Johnson commissioned Warhol to make a large-scale work for the exterior for his pavilion for the New York World’s Fair, along with other artists. Warhol’s provocative response, a multiple portrait of ‘Most Wanted Men’ was installed a few days before the opening but was deemed too inflammatory and contrary to the upbeat image of the World’s Fair and the work was taken down.