Beer bottles and saints: A postcolonial reading of Jim Logan’s let us compare miracles from his classical Boriginal series

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dc.contributor.authorCampbell, Alison N.T.
dc.date.accessioned2026-02-06T23:54:32Z
dc.date.available2026-02-06T23:54:32Z
dc.date.issued2006
dc.description.abstractColonization, modernism, and postmodernism have challenged the way First Nations people are looked at, and how their art is perceived. As a result, First Nations artists and theorists are challenging the “otherness” that has been assigned to them through these discourses and are striving to find a place for their art practice in the art canon. In this climate, Jim Logan, a Métis born Canadian artist, challenges tradition through his incorporation of Native imagery into significant Christian works that are part of the Western art canon. In Logan’s work an apparent dualism exists: the works reflect Native art production, writing, and discourse, and yet also strive to locate themselves within the European art tradition. To understand this dualism, a post-colonial analysis will be applied to the art conventions incorporated into Logan’s work Let Us Compare Miracles, painted in 1992 as part of his Classical Aboriginal Series.
dc.description.scholarlevelGraduate
dc.identifier.citationCampbell, A. N. T. (2006). Beer bottles and saints: A postcolonial reading of Jim Logan’s let us compare miracles from his classical Boriginal series. Illumine, 5(1), 11–17. https://doi.org/10.18357/illumine5120061549
dc.identifier.urihttps://doi.org/10.18357/illumine5120061549
dc.identifier.urihttps://hdl.handle.net/1828/23214
dc.language.isoen
dc.publisherIllumine
dc.rightsCC BY-NC 4.0
dc.rights.urihttps://creativecommons.org/licenses/by-nc/4.0/
dc.titleBeer bottles and saints: A postcolonial reading of Jim Logan’s let us compare miracles from his classical Boriginal series
dc.typeArticle

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Illumine, Vol. 05, No. 1 (2006)
 
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