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Rosalie Favell

Rosalie Favell (born 1958)[1] is a Métis artist from Winnipeg, Manitoba currently based in Ottawa, working with photography and digital collage techniques.[2][3] Favell creates self-portraits, sometimes featuring her own image and other times featuring imagery that represents her, often making use of archival photos of family members and images from pop culture.[3]

Early life

Rosalie Favell was born in 1958 to a Métis father named Gerald, and a mother of Scottish/English descent named Florence McFadyen [Visual Currencies, 37]. She was raised in an Anglican household where the family’s Cree ancestry was not openly discussed.[4][5] Receiving her first camera at age ten,[4] Favell first formally explored her artistic impulse a number of years later at a night photography course which inspired her to continue learning the medium [Visual Currencies, 38].

Education

Favell completed a bachelor of applied arts at Ryerson Polytechnic Institute in 1984, a master of fine arts at the University of New Mexico in 1998, and a PhD(ABD) in Cultural Mediations at Carleton University in 2009.[1][6] In the late 1990s, when she was making a shift from documentary photography to digital photo manipulations, Favell learned from fellow artist Larry Glawson.[4]

Rosalie Favell has taught many courses and workshops throughout her career.[7] She has taught courses at the University of Manitoba (98-99), the Institute of American Indian Art Santa-Fe, (94-95),[4] Carleton University, and the University of Ottawa, to name a few.[8] Favell also teaches digital photography at Discovery University, a program run jointly by The Ottawa Mission and the University of Ottawa since 2005 to offer people of low-income situations educational opportunities.[9] Favell has done several residencies as well, including residencies at the Banff Centre,[5] and the Nigig Visiting Artist Residency at OCAD University, where she presented the work Facing the Camera (2008-ongoing)[10] that consisted of a series of portraits of members of the Indigenous arts community.[11]

Involvement in organizations

Favell was an early member of the NIIPA (Native Indian/Inuit Photographers’ Association) in Hamilton, the first artist-run centre specializing in photo-based artwork by Indigenous artists in Canada [alt.shift.control, 5]. She was a board member at the Floating Gallery Centre for Photography in Winnipeg and the Original Women’s Network: a Native Women’s Resource Centre [MuseumofCivilization]. Favell has also worked with Nepalese women’s groups in Katmandu.[7]

Themes

A prominent and ongoing theme in Favell’s work is self-portraiture. Favell often references the traditions of portraiture and self-portraiture, using traditional composition or even existing portraits, and replacing the historical sitter with herself.[12] An example of this is Favell’s The Artist in Her Museum: The Collector (2005) that references Charles Wilson Peale’s self-portrait displaying his collection, The Artist in His Museum (1822) [JudithParker, 14]. In Favell’s work she replaces the collector with her own image and the collection of specimens with her family photos, and in doing so questions and overwrites the colonial practice of collection and display [JudithParker, 14]. In her photo manipulations, Favell re-contextualizes specific portraits and the portrait tradition on a whole, often introducing her own Indigenous identity to create a dialogue.[12] Fellow artist and writer Barry Ace summarizes Favell’s approach by stating:

“The collected images act as an aide-memoire, igniting personal and collective memory, while photo-digital practice provides her with an expansive tableau for visual expressions of self, family, identity and sexuality” [BarryAce,ISearchedManyWorlds, 21-22].

Favell has also created many works using documentary photography to create an image of the Indigenous community that she is a part of. [akimbo]. Works such as Portraits in Blood (1980s) use photographic portraits of Indigenous artists and friends to express and document Favell’s own navigation of Indigenous identity [akimbo]. Among those photographed by Favell are Indigenous artists Daphne Odjig, Greg Hill, Bear Witness of A Tribe Called Red, Caroline Monnet, Heather Igloliorte, Kent Monkman, Alex Janvier, and Mary Anne Barkhouse.[13]

Awards

Favell was awarded the biennial Karsh Award in 2012 in recognition of her extensive body of photographic work,[14][15] the Ontario Arts Council Chalmers Arts Fellowship, and the Canada Council for the Arts Victor Martyn Lynch-Staunton Award.[1]

Exhibitions

Favell’s work has been exhibited at and collected by the National Gallery of Canada, the Canadian Museum of Contemporary Photography, Library and Archives Canada, the Ottawa Art Gallery, Karsh-Masson Gallery, Cube Gallery, the Smithsonian National Museum of the American Indian, and the Rockwell Museum of Western Art.[2] An exhibition at Mendel Art Gallery in Saskatoon called Steeling the Gaze: Portraits by Aboriginal Artists that challenged stereotypical portrayals of Indigenous people through portraiture featured Favell’s work.[16] Her portraits appeared alongside the work of other Indigenous artists such as KC Adams, Carl Beam, Dana Claxton, Thirza Cuthand, Kent Monkman, David Neel, Shelley Niro, Greg Staats, Jeff Thomas, and Bear Witness.[16]

Selected works

  • 1994 Living Evidence
  • 1980s Portraits in Blood
  • 1998 Longing and Not Belonging
  • 2005 The Artist in Her Museum: The Collector
  • 1999-2006 Plain(s) Warrior Artist
  • 2010 Wish You Were Here
  • 2008-ongoing Facing the Camera

Collaborative projects and groups

In 2017, Rosalie Favell organized a collaborative project called Wrapped in Culture which involved Indigenous artists from Canada: Favell herself, Barry Ace (Anishinaabe-Odawa), Meryl McMaster (Cree) and Adrian Stimson (Siksika-Blackfoot), and from Australia: Maree Clarke (Mutti Mutti, Yorta Yorta, Boon Wurrung), Vicki West (Tasmanian), Mitch Mahoney (Boon Wurrung, Barkindji), Molly Mahoney (Boon Wurrung, Barkindji), Kerri Clarke (Boon Wurrung), and Wade Mahoney (Barkindji).[17][18] The ten artists created a traditional Blackfoot buffalo robe and an Australian Aboriginal possum skin cloak at workshops spanning a few weeks.[18] The robes were incised and painted with designs in an act of storytelling, reclamation, and community building.[19][18]

Rosalie Favell is part of the OO7 (Ottawa Ontario Seven) Collective, a group of Indigenous artists that includes Ariel Smith, Barry Ace, Frank Shebageget, Leo Yerxa, Michael Belmore, Ron Noganosh, and invited “special agents.”[20] The group provides an alternative and experimental space for Ottawa-based Indigenous artists at different stages in their careers.[20]

References

  1. ^ a b c "Rosalie Favell - HIDE: Skin as Material and Metaphor - The National Museum of the American Indian - George Gustav Heye Center, New York, NY". nmai.si.edu. Retrieved 2018-03-14.
  2. ^ a b "ARTFUL BLOGGER: Meet photo-artist Rosalie Favell, Ottawa's own Princess Warrior, whose images of Xena pop up in unusual places | Ottawa Magazine". Ottawa Magazine. 2013-04-05. Retrieved 2018-03-14.
  3. ^ a b "Rosalie Favell at Petite-Vallée – Rencontres internationales de la photographie en Gaspésie". www.photogaspesie.ca. Retrieved 2018-03-14.
  4. ^ a b c d "Rosalie Favell". www.gallery.ca. Retrieved 2018-03-14.
  5. ^ a b Gessell, Paul (2015-09-07). "SASKATCHEWAN: Rosalie Favell, "(Re)facing the Camera", MacKenzie Art Gallery in Regina, Aug. 29 to Nov. 22, 2015". Galleries West. Retrieved 2018-03-14.
  6. ^ "CV | Rosalie Favell". rosaliefavell.com. Retrieved 2018-03-14.
  7. ^ a b "Cube Gallery - Rosalie Favell". www.cubegallery.ca. Retrieved 2018-03-14.
  8. ^ "Rosalie Favell". Gallery 44-Centre for Contemporary Photography. Retrieved March 14, 2018. {{cite web}}: Cite has empty unknown parameter: |dead-url= (help)
  9. ^ "Building community through education". Gazette. Retrieved 2018-03-14.
  10. ^ "- Exhibitions - Michael Schreier and Rosalie Favell September 10 - November 15 @ The Ottawa Art Gallery". Retrieved 2018-03-14.
  11. ^ University, OCAD. "Rosalie Favell's FACING the CAMERA Exhibit Inspires | OCAD UNI..." www2.ocadu.ca. Retrieved 2018-03-14.
  12. ^ a b "Self-portraits by women artists in Library and Archives Canada's collection". Library and Archives Canada Blog. 2015-05-02. Retrieved 2018-03-14.
  13. ^ Simpson, Peter (September 15, 2012). "Following the Red Brick Road: Award-Winning Photographer Finds Her Way Home". Ottawa Citizen. Retrieved 2018-03-14. {{cite web}}: Cite has empty unknown parameter: |dead-url= (help)
  14. ^ "Rosalie Favell wins 2012 Karsh Award – Canadian Art". Canadian Art. Retrieved 2018-03-14.
  15. ^ "Rosalie Favell Wins 2012 Karsh Award for Photography". Ottawa Citizen. September 6, 2012. Retrieved 2018-03-14. {{cite web}}: Cite has empty unknown parameter: |dead-url= (help)
  16. ^ a b "Steeling the Gaze: Portraits by Aboriginal Artists". www.gallery.ca. Retrieved 2018-03-14.
  17. ^ "CLIENT PROJECT: Wrapped in Culture in Ottawa – The L. Project". thelproject.ca. Retrieved 2018-03-14.
  18. ^ a b c "CUAG: Wrapped in Culture / artists talk - Events Calendar". Events Calendar. 2017-11-13. Retrieved 2018-03-14.
  19. ^ "Wrapped in Culture recreates traditional Indigenous art in Ottawa - The Fulcrum". The Fulcrum. 2017-11-13. Retrieved 2018-03-14.
  20. ^ a b "OO7 - It's Complicated". Central Art Garage. Retrieved 2018-03-14.

Further reading

Ace, Barry and Rice, Ryan. “Rosalie Favell: Longing and not Belonging.” CV: Photographie contemporaine, 53 (Winter 2000), 23-30.

Ace, Barry. Rituals of Collecting and Transformation: The Artistic Journeys of Rosalie Favell, BlackFlash, Vol. 24.3 2007.

Ash-Milby, Kathleen editor. Hide: Skin as Material and Metaphor, Smithsonian National Museum of the American Indian, New York, New York, 2010.

Bean, Robert and Bell, Lynne and Busby, Cathy and Drobnick, Jim and Enright, Robert and Favell, Rosalie and Fisher, Jennifer and Fitzpatrick, Blake and Horne, Stephen and Ingelevics, Vid and Jean , Marie-Josée and Ju, Jeanne and Knight, Katherine and Maggs, Arnaud and Maranda, Michael and McFarland, Scott and Metcalfe, Robin and Paiement, Alain and Renwick, Arthur and Tremblay, Ève K. and Williams, Carol. Image and Inscription : An Anthology of Contemporary Canadian Photography. Toronto, Ont.: Gallery 44; Toronto, Ont.: YYZ Books, 2005.

Beatty, Greg. “Exposed: Aesthetics of Aboriginal Erotic Art.” Artichoke, 12:1 (2000), 34-6.

_____. “Rosalie Favell: Living Evidence.” Fuse, 18:1 (1994), 46-7.

Butler, Sheila. “A Sense of Place: Photography in Manitoba.” Vanguard 16:2 (April/May 1987), pp. 41-2.

Campeau, Michel and Corin, Ellen and Eyre, Janieta and Gilbert, André and Harel, Simon and Langford, Martha and Mayrand, Céline. Autoportraits dans la photographie canadienne contemporaine = Self-Portraits in Contemporary Canadian Photography. Québec Qc: J ai VU, 2004.

Campbell, Suzan. The American West: People, Places, and Ideas. Santa Fe, NM: Western Edge Press, 2001.

Cerdan, Alice. girl Guides boy Scouts: Navigating by our Grandmothers, Rosalie Favell and Arthur Renwick. Cahier no. 43. Montréal, Québec: Galerie B-312, 2000.

Dahle, Sigrid. “Dynamic of Riel images examined by 10 artists.” Winnipeg Free Press, 3/2/01, B:7\

Dessureault, Pierre and Hamelin, Louis-Edmond and Kunard, Andrea and Chartier, Daniel and Lunstrõm, Jan-Erik. Nordicité. Québec, Qc: J’ai VU, 2010.

Di Rusio, Tonia. In Absentia. Halifax, NS: Mount Saint Vincent University Art Gallery, 1998.

DOSSIER: en traitement

Enright, Robert. “Legends of the fall.” The Globe and Mail, Saturday, 12 May 2001, Sec. V, p. 8.

Eyland, Cliff. “Officialdumbing.” Border Crossings, 20:2 (Issue No. 78, 2001), 122-3.

_____. “William Eakin/Robert Epp and Rosalie Favell.” Border Crossings, 21:4 (No. 84, 2002), 67-8.

Farrell Racette, Sherry, Close Encounters: The Next 500 Years, Plug In Editions, 2011.

Favell, Rosalie. “Dossier: Amérindiens et Métis: art et politique.” Spirale, 171 (mars-avril 2000), 3, 6-7, 11-12.

_____. “Living Evidence.” Talking Stick, 1:3 (Spring 1994), 3.

Février, Ève. “Speculum de Rosalie Favell.” Esse, 25 (Automne 1994), 8-11.

Frame, Allen and Büchler, Pavel and Williams, Val. Fotofeis ’95 : International Festival of Photography in Scotland. Edinburgh, Scotland: Fotofeis, 1995.

Foster, Alasdair, Gill, Ken, and McArthur, Euan eds. Fotofeis: International Festival of Photography in Scotland. Edinburgh: Fotofeis Ltd., 1995, p. 148.

Fraser, Graham. “Portraits of a people.” The Globe and Mail, Tuesday, 20/11/99, Sec. R, pp. 1, 3.

Gessell, Paul. “The Riel thing: exhibit shows Métis leader as hero to many.” The Ottawa Citizen, Saturday, 18 January 2001, Sec. K, pp. 1, 5.

_____. “Aboriginal erotic art show ruffles few feathers.” The Ottawa Citizen, 14/3/00, Sec. D, pp. 13, 16.

Gilbert, André. Self Portraits in Contemporary Canadian Photography, Éditions J’ai VU, 2004.

Goggin, Kathleen. Rosalie Favell: Living Evidence. Montréal, Québec: Dazibao, 1995.

Hill, Richard William and L’Hirondelle, Cheryl and Nayhowtow, Joseph. The World Upside Down = Le monde à l’envers.Vancouver BC: Walter Phillips Gallery, 2008.

Hopkins, Candice and Loft, Steve and Martin, Lee-Ann and Western, Jenny and Hill, Richard William and Sinclair, Niigaanwewidam James and Masayesva, Victor and Cardinal-Schubert, Joane and Tamati-Quennell, Megan and Garneau, David and Poitras, Edward and Isaac, Jaimie. Close Encounters: The Next 500 Years. Winnipeg, Man.: Plug-In Editions, 2011.

Jenkner, Ingrid. Living Evidence. Regina, Saskatchewan: Dunlop Art Gallery, 1994.

Jenkner, Ingrid and Purdy, Bernice and Garvey, Susan Gibson and Ward, Andrea and McEachern, Susan and Swannie, Suzanne. Now Appearing: The Mount Saint Vincent University Collection. Halifax, NS: The Art Gallery, Mount Saint Vincent University, 1996.

Kiendl, Anthony and Di Rosa, Hervé and Enright, Robert and Gonick, Noam and Dahle, Sigrid and Walsh, Meeka and Aisemberg, Paula and Sigrid, Dahle and Mattes, Cathy. My Winnipeg : Guide de la scène artistique = Guide of the Artistic Scene. Lyon France: Fage, 2011.

Lidchi, Henrietta and Hulleah J. Tsinhnahjinnie, editors. Visual Currencies Reflections on Native Photography. National Museums Scotland. Edinburgh, Scotland, 2009.

Lippard, Lucy R. “Independent Identities.” Native American Art in the Twentieth Century. Ed. W. Jackson Rushing III. London and New York: Routledge, pp. 134-48.

Loft, Steve and Madill, Shirley. alt.shift.control: Musings on Digital Identity. Hamilton, Ontario: Art Gallery of Hamilton and Native Indian/Inuit Photographers’ Association, 2000.

Madill, Shirley. A Sense of Place: Photography in Manitoba. Winnipeg: The Winnipeg Art Gallery, 1987.

Martin, Lee-Ann and Wood, Morgan. Exposed: Aesthetics of Aboriginal Erotic Art. Regina, Saskatchewan: Mackenzie Art Gallery, 1999.

Mattes, Catherine. “Introduction.” First Voices, First Words Issue. Prairie Fire, 22:3, pp. 64-80, 215.

_____. Rielisms. Winnipeg: The Winnipeg Art Gallery, 2001.

McAlear, Donna. Rosalie Favell: I Searched Many Worlds, The Winnipeg Art Gallery, 2003.

Melnyk, Doug. “Rosalie Favell.” Vanguard, 14:7 (September 1985), p. 36.

Payne, Carol. “Emergence from the Shadow: First Peoples’ Photographic Perspectives.” Afterimage, 27:6 (May/June 2000), 16.

Quick-to-See Smith, Jaune. We are One, We are Many: An Exhibition of Contemporary Native American Art. La Crosse, Wisconsin: University of Wisconsin-La Crosse, 1997.

Robertson, Sheila. “Exhibition draws on family photographs.” The Star-Phoenix, 17/1/98, Sec. C, p. 10.

Shinat, Molly Amoli K. “Bridging the continental divide.” Ottawa X Press, 28 October 1999, p. 21.

Starling, Mike. “UW-L art gallery director hopes ‘We Are One, We Are Many’ will change attitudes about style of art.” La Crosse Tribune,Thursday, 20 February 1997, Sec. E, p.8.

Telenko, Sherri. “alt.shift.control: Musings on Digital Identity.” Lola, 7 (Fall 2000), 87.

_____. “alt.shift.control: digital images by contemporary Native photographers Rosalie Favell, Lita Fontaine, Larry McNeil.” Fuse, 23:3 (February 2001), 35-6.

Tsinhnahjinnie, Hulleah J. and Veronica Passalacqua. Our People, Our Land, Our Images International Indigenous Photographers. The Regents of the University of California. Davis, California 2006

Urbanowski, Greg. “Métis photographer bares her soul: polaroids reveal intimacy of relationship.” Prince Albert Daily Herald, 20 January 1995, p. 9.

Walsh, Meeka and Lai, Larissa and Lessard, Denis and MacInnis, Neil S. and Allaire, Serge and Campeau, Sylvain and Baillargeon, Richard and Carlevaris, Anna Maria and Klassen, Val and Philp, Andrea and Turner, Susan and Turner, Myron and Mark, Lisa Gabrielle. Light Year: A Festival of Photographies. Winnipeg, Man.: Floating Gallery, 1998.

Whitebear-Reed, Joyce. “Photo-Realities: photographs by First Nations photographers.” Talking Stick, 1:2 (Winter 1994), 6.

_____. “Photo-Realities: photographs by First Nations photographers.” Blackflash, 11:4 (Winter 1993), 14-17.

Rosalie Favell:

McAlear, Donna. Rosalie Favell: I Searched Many Words. Winnipeg: Winnipeg Art Gallery, 2003. 978-0889152205. (Available Morisset Library MRT General TR 647 .F39 2003)

Library and Archives Canada blog: https://thediscoverblog.com/2015/05/02/self-portraits-by-women-artists-in-library-and-archives-canadas-collection/

Ottawa Citizen 2012 Rosalie Favell article: https://www.pressreader.com/canada/ottawa-citizen/20120915/282153583476018

Wrapped in Culture project:

Museum of civilization: http://www.historymuseum.ca/cmc/exhibitions/aborig/jaillir/jaillrfe.shtml

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