Galleries, Museums & Exhibitions

Art History Thesis (Masters)--University of Tromsø, 2006. One artist is Sami, the other Alaska Native.

Book review of: Contemporary Inuit Drawings by Marion E. Jackson and Judith M. Nasby.

Exhibition review from the Joseph and Margaret Muscarelle Museum of Art, Virginia, 1993-1994. Entire issue on one pdf. To access review, scroll to page 36.

Bibliography of Indigenous artwork and critical engagement.

Argues that both past and present Aboriginal art forms have been underrepresented in national museums. Past art because it has been viewed as craft, and modern works because their content makes viewers uncomfortable.

Examines global visibility of Native artists using the 2007 Venice Biennale, an international art exhibition, as a case study.

Comments on the diverse artforms and media found in the contemporary collection.

Looks at a travelling exhibition featuring a mix of traditional and contemporary artworks. Entire issue on one pdf. To access article, scroll to page 14.

Controversy and politics about the representation of Native American art in the National Museum of the American Indian in Washington D.C.

Native American Studies Thesis (M.A.)--University of Lethbridge, 1995.

Review essay of an exhibition, Across Borders: Beadwork in Iroquois Life, that examines the artistic, cultural and political significance of beadwork in both traditional and contemporary Iroquois culture.

Revision of the document Previous Possessions, New Obligations to ensure it remains relevant. Related material: Previous Possessions, New Obligations (older version). First Peoples, Connecting Custodians (new version).

Website contains links to brief biographies and a gallery of works from the exhibition. Artists were: Rick Bartow, Kay Walkingstick, Joe Feddersen, Harry Fonseca, Richard Ray Whitman, Hachivi Edgar Heap of Birds, Nora Naranjo-Morse, George Longfish, Shelley Niro, Judith Lowry, Marie Watt, and Jaune Quick-To-See.

Author discusses their political concerns and the realities of attending the celebrations of the opening of the National Museum of the American Indian as a member of the Kanaka Maoli (Indigenous Hawaiian) independence movement.

Book reviews of: The National Museum of the American Indian: Critical Conversations edited by Amy Lonetree and Amanda J. Cobb. Fritz Scholder: Indian/Not Indianedited by Lowery Stokes Sims, Truman T. Lowe and Paul Chaat Smith. George De Forest Brush: The Indian Paintings edited by Nancy K. Anderson.

Opening performance of the House Of Wayward Spirits festival, Toronto Free Gallery, June 28, 2012. Duration: 55:54.

Podcast of interview with the author and former director of the UBC Museum of Anthropology. She discusses the evolution of the relationship between museums and the Aboriginal community. Duration: 29:30.

Explores an Indigenous perspective on the impact of global climate change through the voices and experiences of the communities represented in the exhibition.

Interdisciplinary Thesis (M.A.)--Laurentian University of Sudbury, 1998.

B.C. based organization lists "three native nations": Shuswap, Carrier, and Tsilihqot'in. The website has pictures from museum displays of First Nations buckskins and other crafts.

Author gives an overview of the museum and presents the story of its creation. Duration: 55:40.

Interdisciplinary Program in American Indian Studies (M.A.)--The University of Arizona, 2006.

[Art History] Thesis (M.A.)--Arizona State University, 2012.

Curatorial notes for an exhibition of the same name mounted at the MacKenzie Art Gallery, Regina, Saskatchewan, October 25, 1998 to September, 1999. Entire issue on one pdf. To access article, scroll to page 40.

Explores the monumental piece of public art Numbe Whageh, by Nora Naranjo-Morse, a female Native American artist.

Discusses the significance of the landmark exhibition mounted in 1953 by Gimpel Fils Gallery, London, England. Entire issue on one pdf. To access article, scroll to p. 9.

Cree beadwork mats from the Little Pine reserve on display at the Saskatoon Arts and Crafts Society show in 1951.

Teaching resource centers on portraits produced by George Catlin in the 19th century.

Book review of: Crossroads of Continents edited by William W. Fitzhugh and Aron Crowell. Entire issue on one pdf. To access review, scroll to page 49.

Design, Architecture, Art, and Planning Thesis (M.A.)--University of Cincinnati, 2014.

Presents author's perspective on evaluating and studying the Harvard University museum exhibition of the remaining Native American artifacts from the Lewis and Clark expedition.

Book review of: Cultural Property Acquisitions by Aimée L. Taberner. Review located by scrolling to page 245.

Artist uses visual means to story-tell her personal and extended family history.

Art History Thesis (M.A.)--Concordia University, 2010.

Discussion of the "We were So Far Away...": The Inuit Experience of Residential Schools exhibition mounted by the Legacy of Hope Foundation.

Discusses the tribe's past resistance to having spiritual ceremonies photographed and their current efforts to restrict access to sensitive material held in museum collections.

Topics include background and goals of the exhibition, choice of works, and international scope of artists represented. It featured 150 works by over 80 artists from 16 countries and was mounted at the National Gallery of Canada from May 17 to September 2, 2013.

Discusses the responsibility of the art collector to source out the history of the piece. Entire issue on one pdf. To access article, scroll to page 16.

Comments on the partnership between Dorset Fine Arts and the Brooklyn Museum to present the Cape Dorset Legacy Project. Entire issue on one pdf. To access issue, scroll to page 12.

Presents a podcast that is part of the Embodying Empathy Project. Duration: 1:04:32.

Anthropology Thesis (M.A.)--University of Victoria, 2012.

Levell interviews Jisgang, discussing his work and experiences working in museums and galleries; Jisgang gives an account of his learning and his path to his current work.

Examines the interests of both Indigenous peoples and museums in working collaboratively and understanding the dynamics of payments, reciprocity, traditional knowledge and values.

Anthropology Thesis (M.A.)--University of Manitoba, 2017.

Art History Thesis (M.A.)--University of Washington, 2014.

Focuses on two objects from the exhibition (Wasco argillite platter and totem pole) to demonstrate the artist's execution of two-dimensional and three-dimensional design. Excerpt from Charles Edenshaw curated by Robin K. Wright and Daina Augaitis.