Coded Territories: Tracing Indigenous Pathways in New Media Art
Collecting Indian Portraits: Governor Kirkwood, William Henry Jackson, and the Nineteenth-Century Photographic Album
Collector's Choice: Samonie Toonoo
The Commodification of Polynesian Tattooing: Change, Persistence, and Reinvention of a Cultural Tradition
Commodifications of the Past? An IPinCH KnowledgeBase Bibliography
Connect and Divide: The Cell: A Conversation with Edward Poitras
Conquest, Consequences, Restoration: The Art of Rebecca Belmore
Constructing Authenticity: The Indian Arts and Crafts Board and the Eastern Band of Cherokees, 1935-1985
Contemporary Interpretation of an Unusual Navajo Weaving Technique
[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
Contradictions in Indian Art: Contemporary Native American Arts and the National Museum of the American Indian
Control Mapping: Peter Pitseolak and Zacharias Kunuk on Reclaiming Inuit Photographic Images and Imaging
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
Creative Arts, Culture, and Healing: Building an Evidence Base
Cultivating Territories and Historicity: The Digital Art of Skawennati
Curator's Choice: Gilbert Hay
Curatorial Practice in Anthropology: Organized Space and Knowledge Production
The Cuthlasco of the Long Narrows: An Historical, Stylistic, and Functional Analysis of Mountain Sheep Horn Bowls and Ladles
Cyrus Dallin's The Scout: Civic Identity Cast through a Native
Equestrian Monument
Dana Claxton, The Mustang Suite and Hybrid Humour
Decolonial Interventions in Performance and New Media Art: In Conversation with Cheryl L'Hirondelle and Kent Monkman
Discursive and Mediatic Battles in Thomas King's Green Grass, Running Water
Discussing Portraiture, Representation and the Social Consequences of Photography: A Photographic Conversation Between Jeff Thomas and Edward S. Curtis
[Discussion between Kent Monkman and Hélène Samson]
Drawn to Change: Comics and Critical Consciousness
Dreaming of Bear and Crow: A Search for Métis Identity
Early Sámi Visual Artists: Western Fine Arts Meets Sámi Culture
Economic Impact Study: Nunavut Arts and Crafts: Final Report
The Enchanted Owl
The Entangled Aesthetics of Alex Janvier
Entrepreneur Gets Hand Up From Dragons
Introduction to Quemeez, a handmade baby moccasin-making company, and the entrepreneurial story behind them.
Entire issue on one pdf. To access article scroll to p.20.
Exploring the Food Environment on the Spirit Lake Reservation
The Face Pullers: Ch.1 Images - Ceremony of Erecting Sundance Lodge
The Face Pullers: Ch.3 Images - Betty Hunter-Stoney
The Face Pullers: Ch.3 Images - Boys of the Indian Reserve, Saskatoon
Black and white photograph of a group of Indigenous men on the White Cap Reserve seated in an early automobile as Charlie Eagle turns the crank. From the book The Face Pullers: Photographing Native Canadians, 1871-1939 by Brock Silversides.
The Face Pullers: Ch.3 Images - Indian Delegation to Meet Sir Wilfrid Laurier, Lloydminster
Black and white photograph of a group of indigenous men comprising a delegation to meet Sir Wilfred Laurier in Lloydminster, including, (from front left) Fox, Mr. Quinney Sr. John Calling Bull, Napeview, Feather Trousers, Horse, Ugly Fingers, Carpenter, Angus Quinney, Benjamin Quinney, Jean Baptiste Opissinow, Young Chief, Joe Taylor, William Sibbald, Father Cunningham, Mikwyapiy, Flying About, Three Legs, Anoine Muskego, Misihew, Silly Man.
From the book The Face Pullers: Photographing Native Canadians, 1871-1939 by Brock Silversides.