Christine Howard Sandoval

Each season, CAG releases a series of Video Visits that offer short takes on our exhibitions. Presented in five languages — Cantonese, English, French, Mandarin and Spanish — these videos present a variety of perspectives on the work of Nicole Kelly Westman and Christine Howard Sandoval.
 
### English Video Visits
[Nicole Kelly Westman: muddled mirage of memories escaping encapsulation](https://vimeo.com/519181266)
[Christine Howard Sandoval: A wall is a shadow on the land](https://vimeo.com/519180839)
 
### Visites vidéo en français
[Nicole Kelly Westman: muddled mirage of memories escaping encapsulation](https://vimeo.com/518298227)
[Christine Howard Sandoval: A wall is a shadow on the land](https://vimeo.com/518298159)
 
### Visitas de video en español
[Nicole Kelly Westman: muddled mirage of memories escaping encapsulation](https://vimeo.com/518246658)
[Christine Howard Sandoval: A wall is a shadow on the land](https://vimeo.com/518246403)
 
### 普通话视频之旅
[Nicole Kelly Westman: muddled mirage of memories escaping encapsulation](https://vimeo.com/518389750)
[Christine Howard Sandoval: A wall is a shadow on the land](https://vimeo.com/518389702)
 
### 粵語視頻參觀
[Nicole Kelly Westman: muddled mirage of memories escaping encapsulation](https://vimeo.com/518364153)
[Christine Howard Sandoval: A wall is a shadow on the land](https://vimeo.com/518364087)

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Screenshot 2022-05-27 125035.png

Spring 2021

Video Visits

We are pleased to announce our latest installment of CAG Reads, a book club where artists invite us to read alongside them. Each month an artist proposes a text for our collective reading pleasure, culminating in a virtual hangout where the artist leads a wide-ranging discussion grounded in their chosen reading material. 

This month, CAG Reads will be hosted by the interdisciplinary artist Christine Howard Sandoval. Of Obispeño Chumash and Hispanic ancestry, Christine’s work challenges the boundaries of representation, access and habitation through the use of performance, video and sculpture. Howard Sandoval makes work about contested places, such as the historic Native and Hispanic waterways of northern New Mexico; the Gowanus Canal, a Superfund site in New York; and an interfacing suburban-wildland in Colorado.

Christine has exhibited nationally and internationally, including at The Museum of Capitalism, Oakland; Designtransfer, Universität der Künste Berlin; El Museo Del Barrio, Bronx; and Socrates Sculpture Park, Queens. She holds a BFA from Pratt Institute, New York and an MFA from Parsons The New School for Design, New York. She is currently Assistant Professor of Interdisciplinary Art in the Audain Faculty of Art at Emily Carr University, Vancouver. 

Christine has chosen to read “Genealogy of Violence, Part I” (pages 2-32) of Deborah A. Miranda’s *Bad Indians: A Tribal Memoir* (2012), and pages 15-34 of Ariella Aïsha Azoulay’s *Potential History: Unlearning Imperialism* (2019).

### Getting the texts
Copies of *Bad Indians: A Tribal Memoir* and *Potential History: Unlearning Imperialism* can be ordered from [Pulp Fiction](http://pulpfictionbooksvancouver.com/) or [Massy Books]( https://www.massybooks.com/) here in Vancouver within 1-3 weeks. Both books are also available from the [Vancouver Public Library](https://www.vpl.ca/).



A still image of Christine Howard Sandoval working in the studio. 

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Christine Howard Sandoval presents Deborah A. Miranda and Ariella Aïsha Azoulay

CAG Reads

A cover of a book titled Bad Indians: A Tribal Memoir and Altar for Broken Things by Deborah A. Miranda. It shows a photograph of a child in a cowboy costume riding on a pony. 

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bad-indians.jpeg

CAG welcomes Deborah A. Miranda, author of *Bad Indians: A Tribal Memoir* and *Altar for Broken Things*, to read a selection of excerpts and poems from her recent books in parallel to Christine Howard Sandoval’s exhibition *A wall is a shadow on the land*.

### Biography 

Deborah A. Miranda is an enrolled member of the Ohlone-Costanoan Esselen Nation of the Greater Monterey Bay Area in California.  Her mixed-genre book *Bad Indians: A Tribal Memoir* (Heyday 2013), received the 2015 PEN-Oakland Josephine Miles Literary Award, a Gold Medal from the Independent Publishers Association and was short-listed for the William Saroyan Literary Award. She is also the author of four poetry collections: *Altar for Broken Things* (2020), *Raised by Humans* (2015), *The Zen of La Llorona* (2005), and *Indian Cartography* (1999). She is coeditor of *Sovereign Erotics: A Collection of Two-Spirit Literature*, and her work has appeared in many anthologies, most recently *When the Light of the World was Subdued, Our Songs Came Through: An Anthology of Native Nations Poetry* (2020). Deborah lives in Lexington, Virginia with her wife Margo Solod. She is the Thomas H. Broadus, Jr. Professor of English at Washington and Lee University, where she teaches literature of the margins and creative writing.


Deborah A. Miranda

Reading 

A mound-like sculpture made from layers of adobe mud and strips of tape. A postcard with an image of a figure dressed in a religious habit is wedged into the mound, leaving only the torso visible.

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Join exhibiting artist Christine Howard Sandoval and curator Kimberly Phillips for a conversation around the concerns of language, material and the archive that underpin the exhibition *A wall is a shadow on the land*.

### Biographies

Christine Howard Sandoval is an interdisciplinary artist of Obispeño Chumash and Hispanic ancestry. Her work challenges the boundaries of representation, access and habitation through the use of performance, video and sculpture. Howard Sandoval has exhibited nationally and internationally at The Museum of Capitalism, Oakland;  Designtransfer, Universität der Künste Berlin;, El Museo Del Barrio, Bronx; and Socrates Sculpture Park, Queens. She is currently Assistant Professor of Interdisciplinary Art at Emily Carr University, Vancouver.

Kimberly Phillips is Director of SFU Galleries at Simon Fraser University. Over the past 15 years, in her roles as gallery director, curator, and teacher based on the unceded territories of the xwməθkwəy̓ əm, Sḵwx̱wú7mesh and səl̓ílwəta /Selilwitulh peoples, she has worked to amplify the voices of under acknowledged artists and practitioners, ethically vision and build organizational capacity, and create meaningful and unexpected ways for contemporary artists and their publics to find one another. From 2017-2020 she held the position of Curator at the Contemporary Art Gallery, Vancouver, overseeing the gallery’s exhibitions, publications and artist residencies. Previous to this she served as Director/Curator of Access Gallery (2013-2017), a Vancouver artist-run centre committed to emergent and experimental practices. Phillips holds a PhD in art history from the University of British Columbia (2007), where she was an Izaak Walton Killam Doctoral Fellow.


Christine Howard Sandoval in conversation with Kimberly Phillips

Talk

In a meditation on land, language and architecture, Vancouver-based Obispeño Chumash and Hispanic artist Christine Howard Sandoval re-considers the insidious meaning-making power of the archive in her solo exhibition *A wall is a shadow on the land*. Through the use of adobe, a desert building material made from clay, sand and soil and deeply connected to her own family’s histories and practices, Howard Sandoval considers how land is and has been inhabited, the stories embedded in it and the potential futures it holds.

Howard Sandoval reconfigures the typology of Spanish mission architecture in a series of new adobe sculptures and large-scale drawings. Brought together with archival documents and the artist’s own fourth-grade school report on the California missions, she works to dislodge the deep-rooted colonial fictions that narrate the histories of her ancestral homeland in Alta California. *A wall is a shadow on the land* points to the ways in which narratives of colonial erasure are rehearsed within the public school system, and how the ongoing physical presence of mission sites on unceded Indigenous land in the western US are markers of the systemic proliferation of the imperial project and its persistent conditions today.

Co-curated by Julia Lamare and Kimberly Phillips

This exhibition is generously supported by the Audain Foundation.

Christine Howard Sandoval’s *Archival — for Rosario Cooper and my 10 year old self* is installed offsite at Yaletown-Roundhouse Station from January 22 – August 22, 2021. It is presented in partnership with Capture Photography Festival and the Canada Line Public Art Program, InTransit BC.


### Biography 

Christine Howard Sandoval is an interdisciplinary artist of Obispeño Chumash and Hispanic ancestry. Her work challenges the boundaries of representation, access and habitation through the use of performance, video and sculpture. Howard Sandoval makes work about contested places, such as the historic Native and Hispanic waterways of northern New Mexico; the Gowanus Canal, a Superfund site in New York; and an interfacing suburban-wildland in Colorado. Howard Sandoval has exhibited nationally and internationally at The Museum of Capitalism (Oakland, CA); Designtransfer, Universität der Künste Berlin (Berlin, Germany); El Museo Del Barrio (Bronx, NY); and Socrates Sculpture Park (Queens, NY). Her first solo museum exhibition debuted at The Colorado Springs Fine Art Center in May 2019, during which time she was the Mellon Artist in Residence at Colorado College. Sandoval has also been awarded residencies at the Santa Fe Art Institute, Triangle Arts, and The Vermont Studio Center. She holds a BFA from Pratt Institute (NY) and an MFA from Parsons The New School for Design (NY). She is currently Assistant Professor of Interdisciplinary Art at Emily Carr University (BC).


ProgramGuideWinter2021-small.pdf

ProgramGuideSummer2021_CHS_YRHS.pdf

ExhibitionGuideChristineHowardSandoval.pdf

Essay: "CHRISTINE HOWARD SANDOVAL: A wall is a shadow on the land," Julia Lamare and Kimberly Phillips

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001 HEADER IMAGE - Sandoval.jpg

Three large scale drawings made of adobe mud and paper are suspended against the corner walls of a gallery space. In the middle sits a sculpture consisting of two mound-like forms on tripod stands.

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Three large scale drawings are suspended against the two sides of the corner wall of a gallery space. The drawings of architectural forms are made with striations of brown adobe mud on white paper. 

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One large scale drawing is suspended against the wall of a gallery space. The drawing of an architectural form is made with striations of brown adobe mud on white paper. 

thumbnail_03-ChristineHowardSandoval-2021.jpg

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A sculpture in a gallery space. The sculpture consists of two moud-like forms made of brown adobe mud and strips of tape, each sitting atop a metal, tripod-like form.

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An exterior view of a train station displaying Sandoval’s work printed in vinyl. The work includes a collage of scanned archival documents on one side of the station and scanned drawings on the other. 

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An exterior view of a train station displaying Sandoval’s work printed in vinyl. The work depicts an illustration of a Fransiscan friar on the left and on the right an enlarged drawing of a doorway. 

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An exterior view of a train station displaying Sandoval’s work on the glass facade printed in vinyl. The work depicts a collage of scanned and enlarged archival documents, including written notes. 

Christine Howard Sandoval

Exhibitions

Talks & Events