Documenting Indigenous public arts across North America and fostering the creation of new art in public spaces: this research examined the ways in which Indigenous public arts confront the colonial erasure of Indigenous histories.
Tier 2
What鈥檚 in a sign?
Dylan Robinson, former Canada Research Chair in Indigenous Arts and a xwelmexw (St贸:l艒) artist鈥搑esearcher, finds it hard to avoid signs that affirm Canada鈥檚 history of colonization and the continued colonial legacy across most Canadian and American cities. Such signs are ubiquitous, from street signs named after city 鈥渇ounders鈥 and statues of famous statesmen and explorers, to buildings named after companies that profit from extracting resources across Indigenous territories.
In his research, Dr. Robinson looked at how these signs of colonization are being replaced with signs that reclaim Indigenous histories of place. Specifically, his research addressed how Indigenous artists continue to weave their histories and futures back into the fabric of civic infrastructure by creating new public artworks.
Dr. Robinson鈥檚 research traced the development of contemporary Indigenous public arts as sensate interventions in public space. His research asked how forms of sound-based and language-based public art challenge viewers to understand their relationship to the Indigenous histories of the lands they are guests upon.
Dr. Robinson鈥檚 research also centrally supported the creation of new of Indigenous public art works. To this end, he collaborated with Indigenous artists, scholars, and Indigenous community members to explore how public art practices express Indigenous sovereignty, foreground Indigenous history, and affirm Indigenous culture.