Anne Riley

Anne Riley is an interdisciplinary artist of Slavey Dene (Fort Nelson First Nation) and German ancestry.[1] Born in Dallas, Texas, Riley currently lives and works in Vancouver, Canada.[2] Several of Riley's works derive from her identity as Indigiqueer,[3] a term coined by Cree artist Thirza Cuthand,[4] and commonly used by Indigenous artists including Oji-Cree storyteller, Joshua Whitehead.[5] The term is interconnected with Two-spirit, an identity and role that continues to be vital within and across many Indigenous nations.[6][4] Through artistic projects, Riley engages Indigenous methodologies that prioritize learning through embodiment, nurturing communities as well as the non-human world.[7] Riley received her BFA from the University of Texas at Austin in 2012.[8] Riley is a recipient of the City of Vancouver Studio Award (2018-2021).[9]

Selected Works and Projects

In 2021-2022, Riley collaborated with Nadia Lichtig, Josèfa Ntjam, and Jol Thoms with physicists, chemists and engineers from SNOLAB on the exhibition Drift: Art and Dark Matter. The project was conceived as both residency and exhibition, and has exhibited at the Agnes Etherington Art Centre, Morris and Helen Belkin Art Gallery and the Carleton University Art Gallery.[10]

From 2017 to 2019, Riley and her collaborator, T’uy’t’tanat-Cease Wyss worked on a public art project, A Constellation of Remediation, commissioned by the City of Vancouver.[1] The project consisted of planting Indigenous remediation gardens on vacant gas station lots throughout the city as a way of decolonizing and healing the soil.[2]

For the exhibition Every Little Bit Hurts, at the Western Front in Vancouver in 2015, Riley created an installation titled that brings the other nearly as close as oneself.[11] It consisted of a sculpture, made of 62 plaster molds of replicas of Riley's hands holding each other, and a two sets of blue drawings on the wall of the art gallery.[12] Those drawings were created as a remnant of Riley's performance, which was documented on video and also exhibited at the exhibition.[11]

In 2015, Riley attended the Time_Place_Space: Nomad residency program in Melbourne, Australia. There, Riley expanded her scope of art practice to performance, and examined experiences of silence as gestures of resilience.[13]

Exhibitions

Riley's artworks often refer to Indigenous people's experiences, decolonization of Indigenous and women bodies, two-spirits, and healing of land and people from traumatic experiences.

Exhibitions include:

Published Texts
  • Anne Riley, líndline (Where Rivers Meet), “ALMANAC” edited by Maggie Groat published by Kitchner - Waterloo Art Gallery.[21]
  • Anne Riley, Įladzeeé: Pulse in the Wrist: Indigeneity and the Work of Emotional Labour, 2016, MICE Magazine.[22]
  • Anne Riley, Canada Council For the Arts Spotlight Post, Time_Place_Space : Nomad; Silence as Resilience, 2016.[23]

Grants and Awards
  • 2018-2021: City of Vancouver Studio Award Recipient[9]
  • 2017: British Columbia Arts Council Grant for Professional Development (Advanced Mentorship with Interdisciplinary artist Laiwan)[24]
  • 2016: Canada Council for the Arts International Artist Residency Grant (NYC, Alma De Mujer Center for Social Change, Austin Tx)[23]
  • 2015: Canada Council for the Arts Inter-Arts Residency Grant (Melbourne, Australia, TPS: Nomad Residency)
  • 2014: British Columbia Arts Council Grant for Professional Development (Mentorship with Interdisciplinary artist Laiwan)

References
  1. Vancouver, City of. "A Constellation of Remediation". vancouver.ca. Retrieved 2020-03-11.
  2. "Spill". Morris and Helen Belkin Art Gallery. Retrieved 2020-03-11.
  3. "ANNE RILEY | Artspeak". Retrieved 2020-03-11.
  4. Wilbur, Matika, Keene, Adrienne, hosts. Belcourt, Billy-Ray, Whitehead, Joshua, guests. “Indigiqueer.” All My Relations Podcast. March 2019. https://www.allmyrelationspodcast.com/podcast/episode/47547617/indigiqueer
  5. Radio, CBC (Dec 15, 2017). "Poet Joshua Whitehead redefines two-spirit identity in Full-Metal Indigiqueer". CBC News. Retrieved April 22, 2022.{{cite web}}: CS1 maint: url-status (link)
  6. Johns, Jessica C. (Autumn 2019). "Together Apart, Queer Indigeneities". International Contemporary Art: 63–65.
  7. Dehod, Tarin (October 2018 – January 2019). "Responsible Hearts: T'uy't'tanat-Cease Wyss and Anne Riley". BlackFlash Magazine. 35: 16–22.
  8. "About". Retrieved 2020-03-17.
  9. Vancouver, City of. "2018-2021 Artist Studio Award recipients". vancouver.ca. Retrieved 2020-03-20.
  10. Melchor, Stephanie. "Exhibit explores layers of SNOLAB". symmetry magazine. Retrieved 2022-03-16.
  11. "Every Little Bit Hurts - Western Front". Retrieved 2020-03-11.
  12. "Įladzeeé: Pulse in the Wrist". MICE Magazine. 2016-04-14. Retrieved 2020-03-11.
  13. "Time Place Space Nomad: Silence as Resilience". Canada Council for the Arts. Retrieved 2020-03-11.
  14. "Drift: Art and Dark Matter". Morris and Helen Belkin Art Gallery. Retrieved 2022-04-22.
  15. "Spill: Response". Morris and Helen Belkin Art Gallery. Retrieved 2020-03-11.
  16. "this land is lonely for us". www.banffcentre.ca. Retrieved 2020-03-11.
  17. "If the river ran upwards". www.banffcentre.ca. Retrieved 2020-03-11.
  18. "West Space". westspace.org.au. Retrieved 2020-03-17.
  19. "600 Campbell". Contemporary Art Gallery, Vancouver. Retrieved 2020-03-17.
  20. "The Austin Chronicle 2012-10-26". The Austin Chronicle. 2016-06-16. p. 77. Retrieved March 20, 2020.
  21. smitchell (2017-05-04). "ALMANAC". kwag.ca. Retrieved 2022-04-22.
  22. "Issue One: Invisible Labour". MICE Magazine. 21 April 2016. Retrieved 2022-04-22.
  23. "Time Place Space Nomad: Silence as Resilience". Canada Council for the Arts. Retrieved 2022-04-22.
  24. "Mentorships funded by the BC Arts Council — L A I W A N". L A I W A N. Retrieved 2022-04-22.
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