Galleries, Museums & Exhibitions

Art, Society and Culture Thesis (M.A.)--Erasmus University, 2019.

Examines the social, cultural and political issues surrounding the repatriation of historical materials, sacred and significant objects, and human remains.

First Nations Studies (M.A.)--The University of Northern British Columbia, 2008

(Ph.D.)--University of Missouri - Columbia, 2002.

Exhibition centers around Inuit artists' depictions of scenes which almost exclusively feature tents or igloos, rather than modern structures. Curated by Melanie Evtushenko. Entire issue on one pdf. To access article, scroll to p. 29.

Sample of sculptures, along with their accompanying inscriptions, from the exhibition. Entire issue on one pdf. To access article, scroll to p. 26.

Exhibition review mounted at the Carleton University Art Gallery, Ottawa, Ontario, September 12 to December 5, 1998. Entire issue on one pdf. To access article, scroll to page 42.

Curatorial notes from exhibition mounted at the Winnipeg Art Gallery, Winnipeg, Manitoba, December 9, 2000 to July 9, 2001. Entire issue on one pdf. To access article, scroll to page 39.

Exhibition review at the Frye Art Museum, Seattle, Washington, 1994. Entire issue on one pdf. To access article, scroll to page 26.

Curatorial notes for travelling exhibition. Entire issue on one pdf. To access article, scroll to p. 28.

Review of the exhibition catalogue written by Ingo Hessel. Entire issue on one pdf. To access article, scroll to p. 32

Review of permanent exhibit opened in October 1993 at the Arkansas Museum of Science and History in Little Rock, Arkansas that attempts to portray the Arkansas Native Americans reality of maintaining ethnic identity in modern society by presenting history in reverse chronological order.

Curatorial notes for exhibition of the same name mounted at the Winnipeg Art Gallery, Manitoba, 1998 Entire issue on one pdf. To access article, scroll to page 30.

An analysis of the art installation performed and exhibited in 2018 and discussion of how the artist's works express resistance to the proposed oil pipeline and energy extraction projects going through or near Indigenous lands in the U.S. and Canada.

Discusses the lives of both artists and the significance of inclusion of their work at the opening exhibition of the National Museum of the American Indian (NMAI), Washington, D.C.

Looks at Native American art in museums in three areas: Native American art in American art museums in the early twentieth century, multiculturalism: museum initiatives between 1970 and 2000, and twenty-first century approaches: 'dialogical imperatives'.

Highlights works from the exhibition Jessie Oonark: A Retrospective. Entire issue on one pdf. To access article scroll down to appropriate page.

Includes brief biography, listing of exhibitions, publications and images from online exhibition.

Examines an exhibit Listening to Our Ancestors: The Art of Native Life along the North Pacific Coast to evaluate how it is perceived and promoted by Native American staff and community consultants, and non-Native American staff at the Museum.

Curatorial notes for exhibition of the same name mounted at the Phoebe A. Hearst Museum of Anthropology, Berkeley, California, October 2000 through September 2001. Entire issue on one pdf. To access article, scroll to page 24.

Includes biography, list of exhibitions, bibliography and link to images from exhibition.

Well-known Métis photographer discusses her work. Includes artist statement and lists solo and group exhibitions.

Canadian Art History Thesis (M.A.)--Carleton University, 2004.

Curatorial notes for exhibition of the same name. Entire issue on one pdf. To access article, scroll to p. 34.

Discusses various concepts of artistic expression in Aboriginal performance art.

Uses the art of Arthur Renwick as an illustration of the environment, attitudes and efforts to resist colonization of other Aboriginal artists, including Alfred Young Man.

Exhibition review from the Metro Toronto Convention Centre, 2001. Entire issue on one pdf. To access article, scroll to page 41.

Information Thesis (MMSt)--University of Toronto, 2016.

Discussion of 2006 exhibition entitled Norval Morrisseau: Shaman Artist held at the National Art Gallery of Canada which featured 59 works spanning 1958-2002.

An examination of the art world's control over Indigenous art, placing the importance of art over tribal sovereignty, in regards to the Jimmie Durham Cherokee ancestry debate.

Art Thesis (Ph.D.)--Queen's University, 2006.

Curator discusses how both Inuit and non-Inuit works were incorporated into the exhibition held at the National Gallery of Canada, 2003. Entire issue on one pdf. To access article, scroll to p. 40.

Explores changing factors influencing traditional conservation methods and the role of conservation as it relates to material culture of Native Americans.

10th anniversary show of Heard Museum Guild's Indian Arts and Crafts Exhibition.

Review on an exhibition at the Anchorage Museum of History and Art until September 19, 1993 in which art from Canada, Alaska, Greenland, Russia and Lapland was displayed. Entire issue on one pdf. To access article, scroll to page 34.

Presentations on collaborative research: Part 1: Research in Museums and it’s Contribution to Native Communities by Pat Courtney Gold. Part 2: Remembering Heritage Through the Arts in Alaska's Communities by Nadia Jackinsky Sethi. Part 3: G̱a̱lg̱a̱poła (Working Together) – A Collaborative Reframing of Kwakiutl Film and Audio Recordings with Franz Boas by Kathryn Bunn Marcuse, Kaleb Child, Coreen Child and Tom Child. Duration: 2:02:05

Philosophy Thesis (Ph.D.)--Binghamton University, 2000.

Exhibition review from the Winnipeg Art Gallery, 1994-1995. Entire issue on one pdf. To access article, scroll to page 38.

Curator discusses subject matter of works in the exhibition. Entire issue on one pdf. To access article, scroll to p. 48.

Reviews Where are the Children? mounted at National Archives of Canada and Kootenay: An Exploration of Historic Prejudice and Intolerance at Fort Steele Heritage Town.

Uses artist Jimmie Durham and the exhibition Jimmie Durham: At the Center of the World to illustrate the issues connected with Indigenous identity. Jimmie Durham is a self-proclaimed Cherokee artist, whose ethnicity has been challenged by the Cherokee Nation.

Looks at the provenance given, place of manufacture, age, use, material and shape of seven knives.

Mandate is to serve cultural and language needs of Nunavik Inuit. Includes links to programs and projects, and a collection of art and handicrafts.

Looks at the Awareness Series by Barry Pottle about the identification tag system implemented by the Canadian government.