Presents an historical overview of the Huron-Wendat First Nation in Quebec and a photograph of Max Gros-Louis, Grand Chief of the Huron-Wendat First Nation.
File contains 14 negatives by the Indian and Metis National Cross Cultural Awareness Symposium (presumably in Prince Albert, SK) on April, 28, 1987. The first eleven negatives show First Nations and Metis dancers in traditional garb. The last three show a woman examining a piece of art.
Includes brief article, podcast (7:39) discussing the artist's work, and 17 images of paintings from the exhibitions Fritz Scholder: Indian/Not Indian and Fritz Scholder: An Intimate Look.
Discusses how the artist uses parody in his works by painting in the style of Kane and Catlin but introducing subject matter that challenges the stereotypes they depict.
Inuit Art Quarterly, vol. 15, no. 4, Winter, 2000, pp. 30-37
Description
Looks at research and collaboration between author and curator for an exhibition involving a stay in Cape Dorset working with the featured women artists.
Entire issue on one pdf. To access article, scroll to page 30.
Inuit Art Quarterly, vol. 23, no. 2, Summer, 2008, pp. 18-26
Description
Focuses on Annie Pootoogook's depictions of contemporary life and the marketplace's reaction to such unconventional images.
Entire issue on one pdf. To access article, scroll to p. 18.
Inuit Art Quarterly, vol. 23, no. 4, Winter, 2008, pp. 11-16
Description
Discusses the artistic production which was initiated as a form of occupational therapy and later became a source of income.
Entire issue on one pdf. To access article, scroll to p. 11.
Inuit Art Quarterly, vol. 23, no. 3, Fall, 2008, pp. 18-27
Description
Attributes the lack of works that deal with the topic to historical White perceptions of sexuality, attitudes of missionaries who ran residential schools, stereotypes of masculinity, and marketplace demands.
Entire issue on one pdf. To access article, scroll to p. 18.
BC Studies, no. 125/126, Spring/Summer, 2000, pp. 147-162
Description
Discusses how Emily Carr's idealized view of First Nations glossed over many of the social problems they faced; and how she chose to share images of what she viewed was the "vanishing" or "disappearing" Indian.
Critiques art exhibition mounted to celebrate the creation of new territory of Nunavut in terms of whether it accurately represented the Inuit, or was just a reflection of southern views about their art.
Montana: The Magazine of Western History, vol. 58, no. 3, Autumn, 2008, pp. 3-22, 92-94
Description
Examines how Native communities maintained their social and cultural identities amidst the attempt of middle class whites to preserve their own version of Indian culture.
Discussion of images of archival treaty illustrations and photographs. Plates are divided into three groups: Plates 1-4 are treaty negotiations from 1871 to 1899; Plates 5-8 are treaty annuity payments; Plates 9-12 are treaty days dealing with post-treaty issues.
Inuit Art Quarterly, vol. 23, no. 4, Winter, 2008, pp. 20-30
Description
Highlights the unconventional prints by emerging Inuit artists featured in the portfolio Nine Works by Seven Artists.
Entire issue on one pdf. To access article, scroll to p. 20.
Inuit Art Quarterly, vol. 15, no. 1, 2000, pp. 40-45
Description
Curatorial notes for exhibition of the same name mounted at the University of Alaska Museum, Fairbanks, 1999.
Entire issue on one pdf. To access issue, scroll to page 42.
Produced to accompany photo exhibit which was developed for the screening of In the Land of the Head Hunters. Twenty individuals were asked to choose a photograph taken by Curtis and respond to it in a short paragraph.