Discusses the art works created as part of the author's The Treaty Lands Project, focusing on the research conducted for the The Treaty 3 Suite (Outside Promises).
Forward and part IX from: Papers of the Rupert's Land Colloquium 2008: The Centre for Rupert's Land Studies at The University of Winnipeg: May 14 to 16, 2008, Rocky Mountain House, Alberta edited by Margaret Anne Lindsay and Mallory Allyson Richard; foreword by Jennifer S. H. Brown.
Engaged Scholar Journal, vol. 5, no. 2, Engaged Scholarship and the Arts, Spring, 2019, pp. 235-243
Description
Interview with artist Carey Newman about the process of creating The Witness Blanket project, a multimedia installation which incorporated items collected from residential schools, churches, government buildings, and traditional structures from across Canada.
Curriculum and Instruction Thesis (Ph.D.)--University of Victoria, 2019.
Refers to the exhibition by Kent Monkman, Shame and Prejudice: A Story of Resilience .
Cultural Studies Review, vol. 10, no. 1, March 2004, pp. 42-60
Description
Explains why Tuhoe activist Te Kaha in an act of cultural activism, took a painting by Colin McCahon from the Aniwaniwa Visitor Centre in 1997 and then returned it in 1998.
Based on papers presented at the conference: The West and Beyond : Historians Past, Present and Future, held at the University of Alberta, 19–21 June, 2008.
American Indian Culture and Research Journal, vol. 43, no. 4, Fraud in Native American Communities: Essays in Honor of Suzan Shown Harjo, 2019, pp. 41-54
Description
A re-evaluation of Jimmie Durham's work, taking into account the artist's fraudulent claims to Cherokee ancestry and discussion of the implications for scholars, art critics, collectors, and viewers of his works.
Virtual exhibition features portrayals of traditional cultures of the Tlingit, Tsimshian, Haida, Nuxalk, Kwakwaka'wakw, Nuu-chah-nulth, and Salish peoples.
Canadian Art, vol. 15, no. 4, Winter, 1998, pp. 58-[?]
Description
Review of an exhibition produced by Igloolik Isuma Productions and Arnait Ikajurtigiit entitled Une Lumière Blanche held at Le Fresnoy, National Studio of Contemporary Arts.
Journal of the American Institute for Conservation, vol. 37, no. 3, Autumn-Winter, 1998, pp. 334-345
Description
Discusses how The National Museum of the American Indian, in an attempt to develop an exhibit with community involvement and access, sent a selection of 19th Century Navajo blankets to a Navajo reservation in 1995.
Canadian Theatre Review, vol. 144, Theatre in an Age of Eco-Crisis, Fall, 2010, pp. 42-47
Description
Interview in which the artist discusses the development of her kinetic performance sculpture which won the “Best Western Entry” in the Calgary Stampede parade.