Note: The title of this document uses wording that was common to mainstream society of that time period in history. As such, it contains language that is no longer in common use and may offend some readers. This wording should not be construed to represent the views of the Indigenous Studies Portal or the University of Saskatchewan Library. An image of three Aboriginal women and a baby, all wrapped in individual blankets and in front of a teepee. Colours have been added to the photograph in a chromolithograph process. The postcard was addressed to Miss Maggie J. Mitchell, Nova Scotia.

Discusses the variety of influences present in such works as the illustrated book Red: A Haida Manga Excerpt from Objects of Exchange: Social and Material Transformation on the Late-Nineteenth-Century Northwest Coast edited by Aaron Glass.

Portrait etching of Michel Dumais. Note on photograph: "Michel Dumas (not Dumais) from an old newspaper 1885".

Historical note:

Michel Dumais, prominent South Branch Metis. Dumais was one of the delegates sent to retrieve Riel from Montana in 1884 along with Gabriel Dumont and James Isbister. He was farm instructor at the One Arrow Cree Reserve until 1885. After fighting in the Resistance he fled to Montana alongside Gabriel Dumont.

Map detailing the locations of troop movement and battle sites of the Northwest Resistance.

Comments on the two functions most frequently associated with miniature portraits.

Five pictures that depict the Euro-American fantasy of these Native American women.

Copy of illustration depicting white missionary shaking hands with an Aboriginal man wearing traditional head-dress, beside a sod-roofed log cabin - supposedly near Carlton. Copied from Red Indians of the Plains by J. Hines, 1916, p.78. Two natives look on. Caption reads: I thought I never saw a finer built man.

History of Art Thesis (Ph.D.)--Laval University, Université Pierre Mendes France, 2005.

Examines the way Indian artists are reinventing traditions, tribal lore and mythology to explain themselves to their own people and other cultures.

An example of a modern rock painting at an Indian Reserve at Southend, Saskatchewan.

Discuses the Native American fine arts movement of personal expression and active engagement with mainstream modern art during the late 1940s. Focuses on the work of artists Chief Terry Saul, Walter Richard "Dick" West, and Oscar Howe.

Discusses the way the artist's works challenge the relationship between native art and modernism. Chapter from Lawrence Paul Yuxweluptun: Born to Live and Die on Your Colonialist Reservations edited by Charlotte Townsend-Gault, Scott Watson, and Lawrence Paul Yuxweluptun.

Comments on a mural located in Montreal and painted in memory of women who were killed or disappeared from Vancouver, British Columbia.

Discusses an exhibition, Draw & Tell: Lines of Transformation, which includes paintings done by the artist while in prison, 1972-1973.

NPIAA is working to raise the profile of Northern Plains Indian Artists. Includes short biography and examples of the art of some of the artists involved.

Argues that contextual information is critical when building collections and developing exhibitions of objects.

Photograph of a portrait sketch by Sidney Hall.

Historical note:

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.

After analyzing stylistic features and comparing them to seven other examples, author concludes that robe was produced between 1820 and 1845.

Communication, Art and Technology Thesis (M.F.A.)--Simon Fraser University, 2013.

Author discusses his beginnings, achievements, and use of art to raise awareness of the social and political realities of life in Papua New Guinea.

Thesis (M.A.)--University of Quebec, 2008.

Curator speaks about collection of drawings by Napachie Pootoogook, an Inuit artist from Cape Dorset. Duration: 18:53.

Displays 75 items of "bear" themed objects with accompanying information.

Displays 20 items from collection featuring watercolors and drawings from 1883-1949.

Displays 75 contemporary paintings by various artists.

Book review of: National Visions, National Blindness: Canadian Art and Identities in the 1920s by Leslie Dawn. Scroll to page 297 to read review.

Website looks at traditional and contemporary Native American art collection at the Portland Art Museum Online.

Contends that the history of Native American art history remains to be written, even in the twenty-first century.

Based on the exhibition Shared Visions: Native American Painters and Sculptors in the Twentieth Century, the focus is on artists from the Southwest and Oklahoma.

Book review of: Native American Modernism from the Smithsonian NMAI and the University of Washington.

Describes the images known as 'ledger drawings' contained in the sketchbook.

Review of an exhibit, featuring more than 50 historical images of Native Americans and about a dozen contemporary photographs, curated by Daniel Kosharek, Diane Bird, and Andrew Smith, mounted at New Mexico History Museum, May 18-November 4, 2012.

Discusses references and textbooks with a general overview of writing American Native history.

Brief list of sources. Current as of 2001.

Discusses the landmark exhibition Norval Morrisseau: Shaman Artist, the first by a First Nations artist in the history of the National Gallery of Canada.

Community and Regional Planning Thesis (MCRP)--University of New Mexico, 2011.

Highlights an exhibit of works by artist Brian Seesequasis (1958-) of the Beardy's and Okemasis First Nation held at the Regional Interpretive Centre in Duck Lake, Saskatchewan.

Series of black and white archival drawings with annotations.

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.

Examines Benjamin West's painting in the context of Thomas and William Penn's acquisition of large tracts of Aboriginal land.

Book review of: Native Moderns by Bill Anthes.

Focuses on detective narratives. Discusses Street Wolf by Mark Wayne Harris and Dennis Francis, Skinwalker by Nunzio DeFilippis and Christina Weir, and Scalped by Jason Aaron and R. M. Guéra.

Author discusses the work of two Indigenous pop-artists and how they appropriate iconic mainstream imagery in order to subvert popular narratives and stereotypes in the Star Wars franchise and in the wider film industry.

Critiques of the work of Leon Polk Smith (1906-1996).

Illustrates the authors in black and white drawings.