Great Anishinaabe/Woodland Artists (Part XII)

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Carl Beam (1943-2005)
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Mixed Media on paper, © Carl Beam Estate
/Click on image to Enlarge/
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Carl Beam R.C.A. (May 24, 1943 – July 30, 2005), born Carl Edward Migwans, made Canadian art history as the first artist of Native Ancestry (Ojibwe), to have his work purchased by the National Gallery of Canada as Contemporary Art (serigraph, 'The North American Iceberg', 1985).
A major retrospective of his work, mounted by the National Gallery of Canada, is on exhibition starting October 22, 2010 (until January 16, 2011), recognizing Beam as one of Canada's most important artists. He worked in various photographic mediums, mixed media, oil, acrylic, spontaneously scripted text on canvas, works on paper, Plexiglas, stone, cement, wood, handmade ceramic pottery, and found objects, in addition to etching, lithography, and screen process.
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Childhood
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Carl Beam was born Carl Edward Migwans on May 24, 1943, in M'Chigeeng First Nation. His mother, Barbara Migwans was the Ojibwe daughter of Dominic Migwans who was then the Chief of the Ojibways of West Bay (later renamed M'Chigeeng First Nation). "The Beam family's true name derives from miigwaans which means little feather or bird." His father Edward Cooper, was an American soldier, who died as a POW in WWII. "He was raised by his grandparents Dominic and Annie for most of his young life. His exceptional qualities were observed by his elders at a young age, and he was given the name "Ahkideh", from aakode' meaning "one who is brave" in the Ojibwe language." He was sent to Garnier Residential School, in Spanish, Ontario, from the age of ten until he left as a young man.
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Education
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After working at a variety of jobs, from construction work on the Toronto Subway, to working as a millwright in Wawa, Ontario, Beam entered Kootenay School of Art (1971). He went on to earn a Bachelor of Fine Arts from the University of Victoria in 1974, and entered into post-graduate studies at the University of Alberta, (1975–76). He left the University of Alberta over a dispute about his thesis on native art, and returned to Ontario.
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Early work
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The direction of Carl Beam's visual style was firmly established by the late seventies. In 1979 Beam met and married his wife, Ann Beam. "In developing his work over the years, Beam has been accompanied by his wife, Ann, herself and artist and a former teacher at the Art Gallery of Ontario. Often they have worked as collaborators". At this time he incorporated multiple photographic images onto a single picture plane. "He disregarded the illusory deep space of Renaissance depiction, in favour of a flat tableau, where a dialogue of multiple images could take place". At this time his photographic imagery was achieved primarily via screen process, photo-etching, Polaroid instant prints, and a solvent transfer technique also used by Robert Rauschenberg.
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Living in the Southwestern United States
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In 1980, Beam and his family, Ann, and daughter Anong, moved to Arroyo Seco, New Mexico to live and work. "We developed a dialogue together in everyday living, politics, world events, ceramic technique, painting, and all things art, that would continue for the next 26 years". Said Beam of the time "It was in the southwest years later with Ann and Anong, who was a baby, that I saw my first Mimbres bowl, or rather a cupboard full of Mimbres bowls in a gallery on the square in downtown Santa Fe, New Mexico. Some were completely intact, some had been restored, but all shared a bold adventurous design. When I discovered they were done 1,000 years ago, I was completely surprised." Beam and his wife Ann exhibited their ceramic work together in The Painted Pottery of Ann and Carl Beam at the Maxwell Museum of Anthropology, University of New Mexico, Albuquerque, NM.
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Return to Canada
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Although he had achieved a level of success in the United States, with art dealers in both Taos, and Santa Fe, Beam returned to Canada, where he felt his work had an important contribution to make. "A return to Canada in 1983 at first meant no change in format: one ceramic work by Beam of a shaman family, in the collection of the Woodland Cultural Centre in Brantford, Ontario, has the central image Beam favoured in New Mexico, though now one that represents his current situation. Here a shaman figure holds the hands of a figure to either side, likely a veiled reference to his wife, Ann, and his daughter, Anongonse, born in 1980." The family moved to Peterborough, Ontario, and in 1984, Beam was commissioned to make an art work for the Thunder Bay Art Gallery. He titled the piece Exorcism. This became part of a "breakthrough exhibition" for him, which had a catalogue, and was titled Altered Egos the Multi-media Artwork of Carl Beam. It was curated by Elizabeth McLuhan. Living in the east end of Peterborough, Ontario, Beam created an early set of large format etchings, consisting of nine prints. There are many signature images in this print collection, which Beam later used to form the image backbone of his iconic work The North American Iceberg. This work was purchased by the National Gallery of Canada, making Beam the first artist of Native ancestry to have his work purchased into the permanent collection of the National Gallery of Canada as contemporary art.
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Mature Style
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By the mid-eighties, Beam was working with new techniques for incorporating photo-imagery into his work. He utilized a heat transfer technique learned from fellow artist Ann Beam, with his work on paper and Plexiglas. He also began working with photo emulsion and mixed media on paper and large scale canvas works. The works contained various juxtapositions of imagery from the spiritual, the natural, and political world, and incorporated his own poetic inscriptions and math equations. "My works are like little puzzles, interesting little games. I play a game of dreaming ourselves as each other. In this we find out that we're all basically human... My work is not fabricated for the art market. There's no market for intellectual puzzles or works of spiritual emancipation"
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The Columbus Project
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The subject matter of his work turned toward the rapidly approaching 500th anniversary in 1992 of Christopher Columbus, and his arrival in North America. He found in this event, a rich source for a discussion on the nature of culture, as well as revisions and versions of history. He created at this time,(1989–1992) a body of work entitled The Columbus Project. Its first stage had exhibition venues in Peterborough, Ontario at both ArtSpace (curated by Shelagh Young), and also the Art Gallery of Peterborough. The second phase of the Columbus Project was an exhibition at The Power Plant in Toronto, curated by Richard Rhodes entitled the Columbus Boat. The exhibition continued on to venues in Italy and the United States. Beam's imagery for the Columbus Project was cross-culturally vast, and contained the primary images of Columbus, and Native peoples, but also images of Martin Luther King, John F. Kennedy, Albert Einstein, and Abraham Lincoln, Italian Christian iconography, diverse animal species, self portraits and technology (stop lights, rockets). There were two sculptural elements, Voyage a partial reconstruction of the Santa Maria, and the Ampulleta, a 6-foot-tall (1.8 m) hourglass, with one obstructive stone within the sand, as well as several installations, and a video performance of Beam in the Dominican Republic, making a representational graveyard on the beaches where the landing could have taken place.
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In 1992 Carl Beam and Ann Beam built an adobe house on Manitoulin Island. "Their adobe house became to a certain extent, a large scale project which evolved naturally out of their earlier experiences with Native American pottery and the building vernacular of the American southwest." Their life experience was incorporated in his exhibition Living in Mother Earth, and her exhibition Sub-division Suite/Earth Builder's Narrative.
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The Whale of Our Being
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Beam entered the new millennium with the body of work entitled The Whale of Our Being, in this work "Beam examines the calamitous moral fallout from what he perceives as a profound spiritual absence in contemporary society, symbolized by a great whale of primordial proportions". Featuring large photo emulsion works on canvas, constructions, large scale paper works, and ceramics. "Compared to earlier work, The Whale of Our Being exhibits a positively baroque complexity, a dizzying assortment of references, sometimes printed in overly saturated, fluorescent colour. Mystery, for instance, is pink-Day-Glo-coloured pink. The colour in Summa ranges from Day-Glo yellow-green to orange; the images from Einstein and the Hubble Telescope, and astronaut, and Sitting Bull to and image of the First Nations, and more besides." His imagery had become vast and all inclusive, in The Whale of Our Being "He re-examines the media construction of violence and infamy and the public fascination with celebrity". Said Beam at a panel discussion for the Beyond History exhibition in 1989, "If an artist has a legitimate premise, there is nothing which isn't within their field of enquiry"..
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Legacy
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Carl Beam was the first artist of Native ancestry to have his work purchased by the National Gallery of Canada as contemporary art (serigraph, 'The North American Iceberg', 1985; purchased in 1986), thus opening the door for a generation of Native artists to enter. "Despite Beam's reluctance to be defined as a "Native Artist", his art deals with the struggles of his people." Beam brought an innovative approach to all the media he worked in. "Technically Beam is regarded as an innovator for his intentional blurring of diverse art practises, thereby enabling certain methodologies and techniques to acquire new contexts. His innovative techniques, in fact, have been emulated by a new generation of artists-Native and not." "He evolved his own unique techniques as needed in photo-etching and photo based painting, to name a few, and his passionate discourse on all things political and practical inspired many people." A major retrospective of his work, mounted by the National Gallery of Canada, is on exhibition, having started October 22, 2010, thus recognizing Beam as one of Canada's most important artists. The exhibition is curated by Greg A. Hill, Audain Curator and Head of the Department of Indigenous Art, and is accompanied by a catalogue with essays by Ann Beam, Greg Hill, Gerald McMaster, Virginia Eichhorn, and Alan Corbiere with Crystal Migwans, including paintings, photo-based collage works, constructions, ceramics and videos.
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Source: Carl Beam from WIKIPEDIA, the free encyclopedia
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Ref: The official site for the Carl Beam Estate
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>>> Reference posts:
- Great Anishinaabe/Woodland Artists (Part I) /Carl Ray/
- Great Anishinaabe/Woodland Artists (Part II) /Daphne Odjig/
- Great Anishinaabe/Woodland Artists (Part III) /Benjamin Chee Chee/
- Great Anishinaabe/Woodland Artists (Part IV) /Jackson Beardy/
- Great Anishinaabe/Woodland Artists (Part V) /Joshim Kakegamic/
- Great Anishinaabe/Woodland Artists (Part VI) /Roy Thomas/
- Great Anishinaabe/Woodland Artists (Part VII) /Arthur Shilling/
- Great Anishinaabe/Woodland Artists (Part VIII) /Alex Janvier/
- Great Anishinaabe/Woodland Artists (Part IX) /Eddy Cobiness/
- Great Anishinaabe/Woodland Artists (Part X) /Martin Panamick/
- Great Anishinaabe/Woodland Artists (Part XI) /James A. Simon - MISHIBINIJIMA/. --
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* The artwork in this post (Mixed Media on paper): © Carl Beam Estate