Commercialization and Marketing of Women’s Indigenous Knowledge Products: A Case Study of Maasai Body Ornamental Products in Arusha, Tanzania
Communities of Access: Examining Emerging Geographies of Inuit Art in Canada Through the Lens of the Winnipeg Art Gallery’s Inuit Art Centre and Kenojuak Cultural Centre and Print Shop
[Content and Analysis in Native Art: Moving Past Form and Function, Part 1]
[Content and Analysis in Native Art: Moving Past Form and Function, Part 2]
Contentious Art: Disruption and Decolonial Aesthetics
Control Mapping: Peter Pitseolak and Zacharias Kunuk on Reclaiming Inuit Photographic Images and Imaging
A Convoy of Northwest Police on the March - Sketch. - 1885.
Copy of illustration: "Escape of the McKay family through the ice to Prince Albert"
Copy of Illustration from ILLUSTRATED WAR NEWS, April 4, 1885
Coulee at Fort Qu'Appelle, N.W.T.
Country of the Heart: An Indigenous Australian Homeland
Craft Competition: National Pow Wow 16
Craftwork Techniques of the Native Americans
Creating a Haida Manga: The Formline of Social Responsibility in Red
Cree Chiefs from Crooked Lake
Cree Council on Sweetgrass Reserve
Cross-Curricular Connect: Indian Gallery
Cross-Curricular Connect: Indian Gallery
Cultivating Territories and Historicity: The Digital Art of Skawennati
Curator's Choice: Gilbert Hay
The Cuthlasco of the Long Narrows: An Historical, Stylistic, and Functional Analysis of Mountain Sheep Horn Bowls and Ladles
The Dawn of Translation
Decolonial Interventions in Performance and New Media Art: In Conversation with Cheryl L'Hirondelle and Kent Monkman
Decolonizing Nunavut's Art Market
Art History Thesis (PhD) - York University, 2019.
Decolonizing the Medium: How Indigenous Creators are Defying "Sidekickery” and Centering Indigenous Stories and Characters in the Comics Landscape
[Discussion between Kent Monkman and Hélène Samson]
Drawn to Change: Comics and Critical Consciousness
Dreaming of Bear and Crow: A Search for Métis Identity
Duck Lake Battle Grounds
E.-A.: Freestyle Looming and Probability: Grade 12 Foundations of Math
Teacher-created lesson plan developed in conjunction with the McDowell Foundation project Culture-Based School Mathematics for Reconciliation and Professional Development.
E-D.2: Quadrilateral Patterning through Indigenous Beading: Grade 5
Teacher-created lesson plan developed in conjunction with the McDowell Foundation project Culture-Based School Mathematics for Reconciliation and Professional Development.
Early Sámi Visual Artists: Western Fine Arts Meets Sámi Culture
The Enchanted Owl
The Entangled Aesthetics of Alex Janvier
Exploring the Food Environment on the Spirit Lake Reservation
The Fabric of Basketry: Initial Archaeological Study of the Grass Artifacts Assemblage from the Nunalleq Site, Southwest Alaska
Highlights the excavation of grass artifacts near Quinhagak, Alaska and what they can reveal about the precontact Yup'ik people.
The Face Pullers: Ch. 1 Images - Big Bear 1825-88
The Face Pullers: Ch.1 Images - Chief Bobtail and Son
The Face Pullers: Ch. 1 Images - Lt. Gov. Edgar Dewdney, Piapot and Montreal Garrison Artillery
The Face Pullers: Ch. 1 Images - North-West Rebellion Participants from Both Sides
Photograph of a group of participants in the Northwest Resistance, from both sides. Left to Right: Constable Black, Louis Cochin, Inspector R.B.Deane, Alexis Andre, Beverly Robertson, Horse Child, Big Bear, Alexander Stewart, Poundmaker. From the book The Face Pullers: Photographing Native Canadians, 1871-1939 by Brock Silversides.
The Face Pullers: Ch.1 Images - Poundmaker
The Face Pullers: Ch.2 Images - Deerfoot with rifle
The Face Pullers: Ch.2 Images - Sarcee Woman
The Face Pullers: Ch. 2 Images - Unidentified Blood Warrior
Subject holding rifle, sitting on animal hide wearing traditional clothing. Shot in studio. From the book The Face Pullers: Photographing Native Canadians, 1871-1939 by Brock Silversides.
The Face Pullers: Ch. 3 Images - Staff and Students of Government Industrial School
Photograph of the staff and students of a government industrial school in Fort Qu'Appelle. From the book The Face Pullers: Photographing Native Canadians, 1871-1939 by Brock Silversides.