Exhibition was part of the Mendel Art Gallery's Post-Colonial Landscape series, featured 60 paintings from 1960-1990 selected from the Thunder Bay Art Gallery's retrospective The Art of Alex Janvier: His First Thirty Years, 1960-1990.
Inuit Art Quarterly, vol. 14, no. 1, Spring, 1999, pp. 42-44
Description
Exhibition review mounted at the Carleton University Art Gallery, Ottawa, Ontario, September 12 to December 5, 1998.
Entire issue on one pdf. To access article, scroll to page 42.
Inuit Art Quarterly, vol. 9, no. 2, Summer, 1994, pp. 36-38
Description
Exhibition review from the Joseph and Margaret Muscarelle Museum of Art, Virginia, 1993-1994.
Entire issue on one pdf. To access review, scroll to page 36.
Journal of American Institute for Conservation, vol. 38, no. 1, 1999, pp. 45-54
Description
Analysis of the two paintings uses evidence to formulate a hypothesis as to why the artist, Albert Biestadt painted two versions and in what order they were painted.
Inuit Art Quarterly, vol. 9, no. 4, Winter, 1994, pp. 31-34
Description
Exhibition reviews of:
The Human Face, March 20 to November 13, 1994.
Matisse: The Inuit Face, April 24 to June 19, 1994.
Entire issue on one pdf. To access article, scroll to page 31.
Looks at aesthetic philosophies, techniques and personal styles of four Aboriginal female artists; Doreen Jensen, Rena Point Bolton, Jane Ash Poitras, Joane Cardinal-Schubert.
Duration: 51:49.
Inuit Art Quarterly, vol. 14, no. 2, Summer, 1999, pp. 34-35
Description
Curatorial notes for exhibition of the same name mounted at the Winnipeg Art Gallery, 1999.
Entire issue on one pdf. To access article, scroll to page 34.
Inuit Art Quarterly, vol. 14, no. 3, Fall, 1999, pp. 35-37
Description
Curatorial notes for exhibition of the same name mounted at the Canadian Museum of Civilization, Quebec, 2000.
Entire issue on one pdf. To access article, scroll to page 35.
Poitras, once labeled an angry artist, believes anger is foreign to Indigenous philosophies and traditions, instead dictates forgiveness. Her works have display evils done to First Nations people by the church, Western materialism, residential schools and alcohol, but her own worldview is that trials and suffering lead to redemption.
Based on the exhibition Shared Visions: Native American Painters and Sculptors in the Twentieth Century, the focus is on artists from the Southwest and Oklahoma.
Inuit Art Quarterly, vol. 14, no. 3, Fall, 1999, pp. 38-39
Description
Curatorial notes for exhibition by the same name organized by Macdonald Stewart Art Centre, 2000.
Entire issue on one pdf. To access article, scroll to page 38.
Journal of Canadian Art History, vol. 16, no. 1, 1994, pp. 10-29
Description
Comments on paintings that juxtapose 'primitive' against 'civilized'. A summary in French follows the article.
Entire issue on one pdf. To access article scroll to p. 10.
Inuit Art Quarterly, vol. 9, no. 3, Fall, 1994, pp. 4-13
Description
Comments on three generations of Inuit artists and notes shared characteristics in their drawings.
Entire issue on one pdf. To access article, scroll to page 4.
Paintings of totem pole villages created in the early 20th century done by Emily Carr and other artists. The voice of First Nations people describes and provides context for the artworks.
Tonita Pena (Quah Ah), Pueblo Painter: Asserting Identity through Continuity and Change
Articles » Scholarly, peer reviewed
Author/Creator
Marilee Jantzer-White
American Indian Quarterly, vol. 18, no. 3, Summer, 1994, pp. 369-382
Description
Examines social & political events and contexts and the media coverage that surrounded the work and career of painter Tonita Peña; considers the production and reception of their work and asks to what extent Peña’s work responded to their audience.
American Indian Culture and Research Journal, vol. 18, no. 2, 1994, pp. 1-41
Description
Explores how a number of nineteenth-century paintings perpetuated and/or challenged the culturally dominant ideas of "Orientalism" and "domestic ideology".