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.
"National publication for the Indians of Canada." Focus on Indigenous issues, events at residential schools and legal decisions. Previously published as Indian Missionary Record .
Articles reflect the attitudes and policies of the time.
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.
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.
Consists of an interview with George First Rider where he tells the story of the origin of the first Holy Lodge. (A continuation from AA.027) He also tells of the modifications to the Holy Lodge ceremony, the origins of the Group Smoking ceremony and gives the story of Po-Po who foresaw the death of a young man at a Holy Lodge.Note: Dave Melting Tallow, interpreter. Joanne Greenwood, transcriber.
Consists of an interview about the tipis of the Blood Indians; hide preparation, cutting of poles, erection, decoration, furnishing. Also includes some information on transportation by horse and travois.
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.