Ursula Johnson will be exploring some ideas on why she believes finding comfort in discomfort is important. She will be reflecting on her processes and methodologies employed within her practice and how discomfort has been a tool to provide growth.

As part of the Fellowship, Turner will utilize her Afronautic methodology to investigate slave ships built in Newfoundland, research that exists where history meets the intimately personal.

Armand Garnet Ruffo discusses Joi T Arcand’s piece ‘Never Surrender’ from her exhibition ᑿᔭᐢᐠ ᐅᑌᐦᑕᒼ at Central Art Garage for Queen’s University.

Camille Turner - Awakening at Nuit Blanche. Turner works in all different kinds of media and performance art. Her latest venture is a narrative short about a time traveller going back to stop the Transatlantic slave trade. Turner is exploring Canadian and diasporic identity and contextualizing the Canadian involvement in the slave trade.

Michael Belmore is featured in Vie des Arts magazine. The review by Marie Perrault details the importance of copper in artist Michael Belmore's practice. 'Anchored in matter, it testifies to the close links of dependence that humans maintain with the Earth, as much as it denounces the impact of colonialism on matter, copper, stone, in the long course of history.'

How has Johnson—who blends installation, sculpture, performance and traditional Mi'kmaq basket-weaving—not been given carte blanche to build something challenging and beautiful in a public space in Halifax? Since she’s one of the biggest names in art at a national level, we should be sick of seeing Ursula Johnson’s work around Halifax.

Ursula Johnson, Audain Visual Artist in Residence at Simon Fraser University speaks about her installation at Central Art Garage: The Indian Truckhouse of High Art retail store edition.

Joi T. Arcand’s new media installation pimiciwan pimatisowin 2020 marks the first time a Cree contemporary artist has had their work enter the NGV Collection. Arcand's placement of her piece, a blue neon sign set back into a wall cavity, subtly declares that the language wasn’t ‘lost’, but was instead taken, and Cree people are now here to reclaim it.

The exhibition traced relationships between cultural memory and archival silence through works by Canadian artists Sandra Brewster, Shelley Miller and Camille Turner.

Joi T. Arcand’s ᐲᔦᓰᐤ ᐚᓴᑳᐦᐃᑲᐣ (PÎYÊSÎW WÂSKÂHIKAN), is a site specific installation in a dedicated Indigenous space within Edmonton's Stanley Milner Library built for ceremony and gatherings. Joi T Arcand is an artist known for working with Plains Cree syllabics, using her art to explore the colonial hierarchy of languages in the land we currently call Canada.

Joi T. Arcand’s most recognizable works are her neon signs of declarative statements in Plains Cree syllabics. Never Surrender, exhibited at Central Art Garage, is her latest work in this vein, translating lyrics from Corey Hart’s 1980s pop song. Through this process, Hart’s lyrics become an anthem of Indigenous sovereignty.

Joi T. Arcand is the Visual Artist-in-Residence at Harbourfront Centre.

“THE ONLY TONGUE IN VOGUE” is a site specific installation. The title refers to a future where Indigenous languages are once again “in vogue” on Indigenous land. Artist Joi Arcand Arcand is known for working with the Plains Cree syllabics, often in the form of signage.

Bridget Thompson, co-owner of Central Art Garage is interviewed by Guillermo Trejo of Studio66 about her approach to art collecting. The interview covers Thompson's initial interest in the arts, expanding her arts knowledge and her relationship with partner Danny Hussey. As a palliative care house call physician, Dr. Thompson has observed how art in the home can create a place of comfort.

The Artist’s Studio is Her Bedroom is a group exhibition that investigates the patriarchal conditions inherited from modernism. Artist Maura Doyle has been working in clay since she became a single parent; her early work in the medium saw her hand-forming replicas of things that populated her home (bottle of olive oil, can of tomatoes, dish soap).

SAW gallery's Nordic Lab promotes cultural exchanges between Indigenous people in circumpolar nations. The Nordic Lab welcomes their first artist-in-residence, Sobey Art Award-shortlisted artist Joi T. Arcand. Arcand took on a hybrid role with the gallery, becoming the Nordic Lab's first program director.

Àbadakone | Continuous Fire | Feu continuel at the National Gallery of Canada. Works by more than 70 Indigenous artists including Joi T Arcand and Ursula Johnson.

Ursula Johnson along with translator Diane Mitchell and curator Robin Metcalfe, tell the story of her work in an ambitious, trilingual catalogue (Mi’kmaw, French and English). The 160-page publication tells the story of the exhibit, Mi’kwite’tmn (Do You Remember), weaving together Johnson’s voice with other contributors through essays and photos.

Abstract Answers: Artists Jessica Bell, Wei Li, Caroline Monnet and Alma Louise Visscher at the Kimura Gallery, University of Alaska, Anchorage October 21 - December 20, 2019. Four contemporary Canadian women artists in an exhibition exploring the limits of abstraction, representation, and expression as a feminist political strategy.

Mamanaw Pekiskwewina gathering is an all-day discussion with artists from Taskoch pipon pesim kah nipa muskoseya, nepin pesim eti pimachihew in conversation with knowledge keepers and elders.

Turner drew attention to 19 slave ships built on the east coast of Newfoundland between 1751 to 1792.