Galleries, Museums & Exhibitions

Webcast of Global Encounters Initiative Symposium called Itineraries of Exchange: Cultural Contact in a Global Frame held at the University of British Columbia, March 4-6, 2010. Panel discussion begins at 36:41. Duration: 2:24:18.

Discussion about the controversial series of paintings entitled The Forgotten by Pamela Masik which portrayed the sixty-nine missing and murdered women from Vancouver's Downtown Eastside. The exhibition to be held at the Museum of Anthropology was cancelled due to protests. Duration: 31:50.

Looks at the story behind meeting of sixty-four chiefs to hear General Washington speak at Peale's Museum of Natural history.

History of the basketry collection and an inventory divided by tribe.

Website developed as part of the exhibition of works by the Coast Salish artist. Contains links to images with brief descriptions, short biography, and resources for further information.

Discusses emerging trends in Northern art and the need for government support for its continued survival.

Discusses the exhibition mounted at the Urban Shaman Gallery.

Saskatchewan First Nation artists, James Ratt, Michael Lonechild, John R. Hallkett, Calvin Sand, Myles Charles, Robert Bellegarde, and Lloyd Pinay, displayed 91 objects of art at a private showing.

Article focuses on the artwork of people from the northwest coast; notes that historically, scholarship and collection practices have excluded some of the range of artistic production; advocates for more inclusive practices of scholarship, collection, and exhibition.

Author, and guest editor of the section on Critical Engagements with the NMAI (National Museum of the American Indian) discusses the varied response to the museum since its opening two years prior, and introduces the article contained in this section.

Revised version.

Online exhibit of Gwich'in cultural material which explores the close relationship with the land through artifacts, oral stories and photos.

Commentary of the various media reviews on the September 2004, First Americans Festival held at the National Museum of the American Indian (NMAI).

Exhibit including the people and the land, Haida art, and Haida villages; based on book Haida Art by George F. MacDonald.

Reviews of: Raven Travelling: Two Centuries of Haida Art, Past to Present: Important Works for the First Peoples of the Northwest Coast, and Two Perspectives: Visions of Haida Gwaii.

Online exhibit of the history of Haida body art and designs. Includes pictures and drawings of tattoos.

Book review of: Hall of Mirrors: Museums and the Canadian Public by Robyn Gillam.

Museum Studies Thesis (Ph.D.)--The University of Leicester, 2002.

Brief discussion of an exhibition of the artist's genealogy-inspired work entitled Pine held at the Gallery Connexion in Fredericton.

Curatorial notes for the exhibition of the same name mounted at the Winnipeg Art Gallery, Winnipeg, Manitoba, January 20 to March 11, 2001. Entire issue on one pdf. To access article, scroll to page 18.

Book review of: The Harry Winrob Collection of Inuit Sculpture by Darlene Coward Wight, Zebedee Nungak, Lorne Balshine, Harry Winrob.

Book review of exhibition catalogue for The Harry Winrob Collection of Inuit Sculpture by Darlene Coward Wight and Zebedee Nungak. Entire issue on one pdf. To access article, scroll to page 30.

Museum and Heritage Studies (Ph.D.)--Victoria University of Wellington, 2014.

Exhibition review from the National Gallery of Canada, Ottawa, Ontario, 1996. Entire issue on one pdf. To access article, scroll to page 27.

Discussion of the American Indian Holocaust community project exhibit, which had a vision to heal a community.

Discusses exhibit on the American Indian holocaust.

Art History Thesis (Ph.D.)--University of Victoria, 1998.

Exhibit at the RCMP Museum in Regina displays art work by Henry Beaudry of the Mosquito First Nation.

Comparative Literature Thesis (Ph.D.)--University of Massachusetts Amherst, 2000.

Discusses Alberta's heritage conservation accomplishments and the various ways of restoring the past, including museums, heritage parks and archaeological site preservation.

Book review of: Hiding the Audience by Frances W. Kaye.

Focuses on two performance pieces: James Luna's The Chapel of the Sacred Colours and Rebecca Belmore's The Indian Factory.

Describes Inuit ivory carvings from between roughly 1750 and 1948 that were collected by the Museum. Revision of essay first published in Inuit Art Quarterly, 14(4), 1999. Includes brief bibliography.

History Thesis (M.A.)--University of Ottawa, 2017.

Discusses the Ojibwe Museum and Cultural Center on the Lac du Flambeau Chippewa reservation in northern Wisconsin. Examines strategies used in integrating and self-representation within the community.

A guide at Fort Battleford Museum points to Batoche on a map to show where Gabriel Dumont's Lefacheaux .38 pin fire revolver was used in 1885.

Examines the relationship between art, identity and culture and the discourses surrounding contemporary Indigenous art.

Comments on a controversial exhibition held at the Museum of Modern Art called "'Primitivism' in 20th Century Art: Affinity of the Tribal and Modern". Chapter 9 from The Anthropology of Art: A Reader edited by Howard Morphy and Morgan Perkins.

Mr. Shepherd was a farmer, author and curator of the Western Development Museum, Saskatoon. His papers consist of personal correspondence, 1938-1977, subject files, 1933-1977; books, 1961-1977 and newspapers. Among the subject files are ones on the Royal Canadian Mounted Police, the Cypress Hills area, Sioux Indians, and the Western Development Museum. The Books section is mainly about books he wrote.

Comments on the laws and the search for missing artifacts related to the ceremony.

(Art?) Thesis (Ph.D.)--Leiden University, 2012.

Native American Art: A Thinking of Non-Native Interpretations and Perspectives Thesis (Ph.D.)--The Union Institute, 1998.

Describes relationship-building process which led to the creation of the Hodul'eh-a: A Place of Learning gallery at the Exploration Place Museum and Science Centre in Prince George, BC. The gallery, a collaboration between the city and the Lheidli T’enneh First Nation, received a Governor General's Award in Community Programming. The Gallery “serves as a model for how Indigenous and non-Indigenous communities can work together to reclaim traditional spaces, protect cultural assets, and promote a greater understanding and respect for Indigenous history and experiences.”

Essay focuses on works that deal with conflict and war.