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.
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. 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.
Consists of an interview about various aspects of the Pigeon Society; the role of various members; women in the society; competing for wives; the Crow Carriers Society; the Brave Society including a story of a fight against the Cree when the enemy was scared away by the dancing of the Braves; and the Scaping dance.
Consists of an interview about the acquisition of the Pigeon Society by the Blood Indians; the ceremonials of the Pigeon Society, including the transfer of bundles.
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.
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.