Loyal till Death: Indians and the North-West Rebellion
Images » Photographs
Description
Photograph. Caption: Treaty Six negotiations were held at a traditional camping area, known to the Cree as the "waiting place", near Fort Carlton.
From the book Loyal till Death: Indians and the North-West Rebellion by Blair Stonechild and Bill Waiser.
Loyal till Death: Indians and the North-West Rebellion
Images » Photographs
Description
Photograph. Caption: One of the fugitive Indians (possibly Four Sky Thunder) who surrendered at Battleford instead of fleeing to the United States.
From the book Loyal till Death: Indians and the North-West Rebellion by Blair Stonechild and Bill Waiser.
A photograph of the government's surveyors corps of scouts during the 1885 uprising, probably taken at Qu'Appelle prior to Middleton's march north. The men appear to be armed with lever action repeating rifles and pistols.
Image of Captain John French, killed at Batoche. On back of photo: "An old French halfbreed, named Ross, was standing at the corner of a house nearly opposite Batoche's house, and fired the fatal shot, then made a run for cover, but paid the penalty for shooting French just before reading it."
Discusses how Oscar Howe has created a liner abstract design concept that utilizes the formal elements of line, color and space to bridge the gap between traditional Indian values and the world of contemporary art.
File contains 2 negatives featuring a man and two children in traditional dress, presumably from Prince Albert, Saskatchewan or area, taken on January 29, 1966.
File contains two negatives from the Indian Metis Construction Course held in Prince Albert, Saskatchewan, on June 25, 1966. The images show a man receiving a diploma.
"National publications 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.
File contains two negatives of a delegation of Aboriginal women presumably sent from Prince Albert to Regina for some official purpose. Two scanned images show some of the women presenting traditional handicrafts to two men.
Group photo taken on the grounds of Fort Pitt, NWT. Numbered from L to R: 1. Fire Sky Thunder; 2. Sky Bird (Big Bear's son); 3. Natoose; 4. Napasis; 5. Big Bear; 6. Angus McKay (HBC); 7. Dufrain (HBC cook); 8. L. Goulet; 9. Stanley Simpson (HBC); 10. Alex McDonald; 11. Rowley; 12. Corp. Sleigh (NWMP); 13. Edmond; 14. Henry Dufrain.
Decolonization, vol. 3, no. 1, Indigenous Art, Aesthetics and Decolonial Struggle, 2014, pp. 225-231
Description
Mixed media artist Tom GreyEyes talks about his art being political messages coming from the Indigenous perspective on colonialism, decolonization and protest.
Inuit Art Quarterly, vol. 27, no. 3, Fall, 2014, pp. 22-31
Description
Discusses a sculpture competition and a subsequent exhibition, Eskimo Fantastic Art at the University of Manitoba in 1972.
Entire issue on one pdf. To access article, scroll to page 22.
Photograph of child with buildings in background taken at Lake Harbour, N.W.T. [NU], currently known as Kimmirut, NU. Title on file: Eskimo Child with Sled.
Inuit Art Quarterly, vol. 27, no. 1, Kenojuak Ashevak, 1927-2013, Winter, 2014, pp. 16-21
Description
Interview with artist who received an Appointed Companion to the Order of Canada medal in 1982.
Entire pdf on one issue. To access article, scroll to page 16.
Photograph. Caption: "Judge Hugh Richardson (right) shaking hands with Peter Hourie, the court interpreter for the Indian trials."
From the book Loyal till Death: Indians and the North-West Rebellion by Blair Stonechild and Bill Waiser.
The Indian trials took place in Regina, North West Territories, after the trial of Louis Riel.
Inuit Art Quarterly, vol. 27, no. 1, Kenojuak Ashevak, 1927-2013, Winter, 2014, pp. 54-55
Description
Comments on an art room named after the famed artist who has been featured on coins and stamps.
Entire issue on one pdf. To access article, scroll to page 53.
Discusses a painting that appears to be a nineteenth-century Romantic landscape but is in fact a critique of that style of painting which deconstructs both colonial representations of Native Americans and colonialism’s westernization of Native gender and sexuality.