Cry for the INDIANS:
Indian Pigeon Holes: The Work of Terrance Houle No one really wants to be labeled an "Indian Artist", right? That's a gross oversimplification of a complex idea. Actually, NAICA is pretty sure that Terrance Houle, a Blackfoot interdisciplinary artist from Alberta, would like to be labeled just that. A self-proclaimed "ethnically pigeon hole challenged" artist, Houle embraces the indigenous stereotype with both arms, and maybe even French kisses it a little. You won't find any idiosyncratic banter about the misappropriation of "Indian" culture in his work. But you might possibly find plastic tomahawks, cheap feather headdresses and even those little felt loincloths, but no banter because those objects speak for themselves. Houle's work embraces a sort of harsh sentimentality, where Day-Glo Indian caricatures collide with muted contemporary figures. Modern day Aboriginals are beaten to a pulp by their stereotypical (and somewhat homophobic) Indian counterparts as seen in "The Metrosexual Indian" and teenagers in baggy jeans and hoodies burn toy wagons and proceed to dance, warrior-like, around the ashes in "The Wagon Burner." Stereotypes defy stereotypes in Houle's work and his aesthetic sensibilities, whether it be in film or performance art or photography, are unassumingly terse and to the point. To the point of the plastic Tomahawk that is. After all, Houle's work does not try to escape proverbial Indian "pigeon hole." It simply seeks to spruce it up a little. Renee Gick
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WINNETOU part 2:
Best fuckin commercial EVER
WHA??
Dan Bejar