Beer Bottles and Saints: A Postcolonial Reading of Jim Logan’s Let Us Compare Miracles from His Classical boriginal Series
Colonization, modernism, and postmodernism have challenged the way First Nations people are looked at, and how their art is perceived. As a result, First Nations artists and theorists are challenging the “otherness” that has been assigned to them through these discourses and are striving to find a p...
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| Format: | Article in Journal/Newspaper |
| Language: | English |
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University of Victoria
2010
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| Online Access: | https://journals.uvic.ca/index.php/Illumine/article/view/1549 https://doi.org/10.18357/illumine5120061549 |
| Summary: | Colonization, modernism, and postmodernism have challenged the way First Nations people are looked at, and how their art is perceived. As a result, First Nations artists and theorists are challenging the “otherness” that has been assigned to them through these discourses and are striving to find a place for their art practice in the art canon. In this climate, Jim Logan, a Métis born Canadian artist, challenges tradition through his incorporation of Native imagery into significant Christian works that are part of the Western art canon. In Logan’s work an apparent dualism exists: the works reflect Native art production, writing, and discourse, and yet also strive to locate themselves within the European art tradition. To understand this dualism, a post-colonial analysis will be applied to the art conventions incorporated into Logan’s work Let Us Compare Miracles, painted in 1992 as part of his Classical Aboriginal Series. |
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