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'''Kali Spitzer''' |
'''Kali Spitzer''' |
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Kali Spitzer (b. 1987) is a Canadian indigenous photographer. Kali Spitzer is [[Kaska Dena]] from the Yukon and then[[Kaska_Tribal_Council | Daylu]] ([[Lower Post]], [[British Columbia]]). Her father is [[Kaska Dena]] and her mother is Jewish from Transylvania, Romania. <ref>{{Cite web|url=https://kalispitzer.photoshelter.com/about|title=Kali Spitzer Photography: About|last=Spitzer|first=Kali|date=|website=Kali Spitzer Photography|archive-url=|archive-date=|dead-url=|access-date=}}</ref><ref>{{Cite web|url=https://www.nationalgeographic.com/culture/2018/10/photography-tintype-native-american-artists/|title=Reclaiming an old medium to tell new stories of Native Americans|last=Berger|first=Maurice|date=October 8, 2018|website= |
Kali Spitzer (b. 1987) is a Canadian indigenous photographer. Kali Spitzer is [[Kaska Dena]] from the Yukon and then[[Kaska_Tribal_Council | Daylu]] ([[Lower Post]], [[British Columbia]]). Her father is [[Kaska Dena]] and her mother is Jewish from Transylvania, Romania. <ref>{{Cite web|url=https://kalispitzer.photoshelter.com/about|title=Kali Spitzer Photography: About|last=Spitzer|first=Kali|date=|website=Kali Spitzer Photography|archive-url=|archive-date=|dead-url=|access-date=}}</ref><ref name=":1">{{Cite web|url=https://www.nationalgeographic.com/culture/2018/10/photography-tintype-native-american-artists/|title=Reclaiming an old medium to tell new stories of Native Americans|last=Berger|first=Maurice|date=October 8, 2018|website=National Geographic|archive-url=|archive-date=|dead-url=|access-date=March 30, 2019}}</ref> |
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Spitzer has worked with film in 35mm, 120 and large-format, as well as wet plate collodion process using an 8-by-10 camera<ref name=":0">{{Cite web|url=https://portlandartmuseum.org/exhibitions/ccna-dineyazhi-spitzer/|title=CCNA: Dene bāhī Naabaahii|last=|first=|date=|website=Portland Art Museum|archive-url=|archive-date=|dead-url=|access-date=}}</ref>. She does work in portraiture. She also photographs cultural practices and ceremonies in her community, most notably when at the age of 20, she returned to the Yukon and documented the cultural practices around hunting, fishing, trapping, tanning moose and caribou hides, and beading<ref>{{Cite web|url=https://www.neverapart.com/features/kali-spritzer-exploring-resilience/|title=Kali Spitzer: Exploring Resilience|last=Jay|first=Mikela|date=January |
Spitzer has worked with film in 35mm, 120 and large-format, as well as wet plate collodion process using an 8-by-10 camera<ref name=":0">{{Cite web|url=https://portlandartmuseum.org/exhibitions/ccna-dineyazhi-spitzer/|title=CCNA: Dene bāhī Naabaahii|last=|first=|date=|website=Portland Art Museum|archive-url=|archive-date=|dead-url=|access-date=}}</ref>. She does work in portraiture. She also photographs cultural practices and ceremonies in her community, most notably when at the age of 20, she returned to the Yukon and documented the cultural practices around hunting, fishing, trapping, tanning moose and caribou hides, and beading<ref name=":2">{{Cite web|url=https://www.neverapart.com/features/kali-spritzer-exploring-resilience/|title=Kali Spitzer: Exploring Resilience|last=Jay|first=Mikela|date=January 16, 2017|website=Never Apart|archive-url=|archive-date=|dead-url=|access-date=March 30, 2019}}</ref>. She is also known to use [[tintype]] photography as a means to place her work "in dialogue with the problematic history of Native American imagery by white photographers"<ref name=":1" /> |
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Spitzer received a Reveal Indigenous Art Award in 2017 <ref>{{Cite web|url=https://canadianart.ca/news/reveal-indigenous-art-awards/|title=150 Indigenous Artists Receive $1.5 Million in Awards|last=|first=|date=April 12, 2017|website=Canadian Art|archive-url=|archive-date=|dead-url=|access-date=March 30, 2019}}</ref> from the [[Hnatyshyn Foundation Visual Arts Awards|Hnatyshyn Foundation]]. |
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She is also known to use tintype photography. |
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Wilson and Spitzer’s portraits provide insights not only about their subjects, but also about photography’s role in representing Native American life and culture. Their contemporary take on the tintype—a 19th-century photographic process in which a tin plate is blackened by paint, lacquer, or enamel and coated with a photographic emulsion—places them in dialogue with the problematic history of Native American imagery by white photographers. |
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== Education == |
== Education == |
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== Exhibitions == |
== Exhibitions == |
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Kali Spitzer's work has been shown at the the 2018 Contemporary Native Art Biennial, was exhibited at the [[Sherbrooke Museum of Fine Arts]], Sherbrooke, Quebec<ref>{{Cite journal|last=Beavis|first=Lon|date=Dec 2018|title=Contemporary Native Art Biennial/La Biennale d'art contemporain autochtone 2018|url=https://bordercrossingsmag.com/article/baca-indigenous-biennial|journal=Border Crossings|volume=37|issue=148|pages=102-104|via=Proquest}}</ref>, The [[Portland Art Museum]]'s Center for Contemporary Native Art<ref name=":0" />, |
Kali Spitzer's work has been shown at the the 2018 Contemporary Native Art Biennial, was exhibited at the [[Sherbrooke Museum of Fine Arts]], Sherbrooke, Quebec<ref>{{Cite journal|last=Beavis|first=Lon|date=Dec 2018|title=Contemporary Native Art Biennial/La Biennale d'art contemporain autochtone 2018|url=https://bordercrossingsmag.com/article/baca-indigenous-biennial|journal=Border Crossings|volume=37|issue=148|pages=102-104|via=Proquest}}</ref>, The [[Portland Art Museum]]'s Center for Contemporary Native Art<ref name=":0" />, the Never Apart Centre in Montreal, Quebec<ref name=":2" />, and grunt gallery in Vancouver, British Columbia. |
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== References == |
== References == |
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{{Reflist}} |
{{Reflist}} |
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Revision as of 19:26, 30 March 2019
Kali Spitzer
Kali Spitzer (b. 1987) is a Canadian indigenous photographer. Kali Spitzer is Kaska Dena from the Yukon and then Daylu (Lower Post, British Columbia). Her father is Kaska Dena and her mother is Jewish from Transylvania, Romania. [1][2]
Spitzer has worked with film in 35mm, 120 and large-format, as well as wet plate collodion process using an 8-by-10 camera[3]. She does work in portraiture. She also photographs cultural practices and ceremonies in her community, most notably when at the age of 20, she returned to the Yukon and documented the cultural practices around hunting, fishing, trapping, tanning moose and caribou hides, and beading[4]. She is also known to use tintype photography as a means to place her work "in dialogue with the problematic history of Native American imagery by white photographers"[2]
Spitzer received a Reveal Indigenous Art Award in 2017 [5] from the Hnatyshyn Foundation.
Education
Spitzer earned her certificate in Professional Photography from the Western Academy of Photography and has studied at the Institute of American Indian Arts in Santa Fe, New Mexico, under the mentorship of Will Wilson[3].
Exhibitions
Kali Spitzer's work has been shown at the the 2018 Contemporary Native Art Biennial, was exhibited at the Sherbrooke Museum of Fine Arts, Sherbrooke, Quebec[6], The Portland Art Museum's Center for Contemporary Native Art[3], the Never Apart Centre in Montreal, Quebec[4], and grunt gallery in Vancouver, British Columbia.
References
- ^ Spitzer, Kali. "Kali Spitzer Photography: About". Kali Spitzer Photography.
{{cite web}}: Cite has empty unknown parameter:|dead-url=(help) - ^ a b Berger, Maurice (October 8, 2018). "Reclaiming an old medium to tell new stories of Native Americans". National Geographic. Retrieved March 30, 2019.
{{cite web}}: Cite has empty unknown parameter:|dead-url=(help) - ^ a b c "CCNA: Dene bāhī Naabaahii". Portland Art Museum.
{{cite web}}: Cite has empty unknown parameter:|dead-url=(help) - ^ a b Jay, Mikela (January 16, 2017). "Kali Spitzer: Exploring Resilience". Never Apart. Retrieved March 30, 2019.
{{cite web}}: Cite has empty unknown parameter:|dead-url=(help) - ^ "150 Indigenous Artists Receive $1.5 Million in Awards". Canadian Art. April 12, 2017. Retrieved March 30, 2019.
{{cite web}}: Cite has empty unknown parameter:|dead-url=(help) - ^ Beavis, Lon (Dec 2018). "Contemporary Native Art Biennial/La Biennale d'art contemporain autochtone 2018". Border Crossings. 37 (148): 102–104 – via Proquest.
External links