"Wiiwimta-eyḳ Thliitsapilthim", early 1970s.
Ceremonial curtain of the Senior Chief of Kayukwit, painted by Ḳi-ḳe-in. Keeper of the history:
Wiiwimta-eyḳ, Christina Cox. Courtesy of Wiiwimta-eyḳ, Christina Cox. L to r: Samantha
Cox, Walter Cox, Sophie Jules, Wiiwimta-eyḳ,
Ḳi-ḳe-in. Comox Community Hall, early 1970s.
Every undergraduate student at UBC is invited to participate in an essay contest considering the relationship of the aesthetic and the political. The exhibition Backstory poses the question, you provide some answers.
There will be a $1,000 cash prize for the best essay. The essay will be featured on the Morris and Helen Belkin Art Gallery website.
Essays might choose to address some of the following questions: Is it possible to perceive art outside of its specific political context? Can works of art be interpreted persuasively as political even when an exhibition doesn’t make this context explicit? A broad spectrum of thinkers – theorists, artists, writers, scientists, and more – are drawn to examining the relation of art to politics. These two domains have been conceptualized in conflicting ways – as mutually autonomous or as inherently linked. How does Backstory: Nuuchaanulth Ceremonial Curtains and the Work of Ḳi-ḳe-in (at the Morris and Helen Belkin Art Gallery until 28 March 2010) propose a strategy for apprehending the political aspects of art? How do we understand this show in light of the fact that Ḳi-ḳe-in (Ron Hamilton), the painter, does not refer to himself as an artist? Are we required to come to an exhibition well versed in the social, political, cultural context of the work? And what if we don’t?
For further information please contact: Jana Tyner at email@example.com,
tel: (604) 822-1389, or fax: (604) 822-6689