Three tepees (tipis) at center, people sitting on ground near tepees. Body of water and building in background; summer scene.

Discusses how the artist uses humour to subvert mainstream stereotypes about Aboriginals using the Urban Indian photographic series as an example.

Book review of Theorizing Native Studies edited by Audra Simpson and Andrea Smith.

A photograph of three Aboriginal girls in skirts posing beside two harnessed horses. Wagon and grain elevator in background.

Three Indian men in ceremonial dress (buckskin adorned with beadwork; head dress and moccasins) on-lookers and tipi in the background. Probably taken in Carlton at a Treaty celebration.

Three Indian tipis showing some detail of construction, beside some telephone poles, and a building with gabled roof.

Historical note:

A photograph of two First Nations men in traditional garb, and a City Official at a ceremony to celebrate the giving of a totem pole to the City of Prince Albert, 1975. The pole was carved by a First Nations man originally from British Columbia, and currently stands along the North Saskatchewan River near the Prince Albert Historical Museum.

A photograph of two First Nations men in traditional garb, and a City Official at a ceremony to celebrate the giving of a totem pole to the City of Prince Albert, 1975. The pole was carved by a First Nations man originally from British Columbia, and currently stands along the North Saskatchewan River near the Prince Albert Historical Museum.

A photo of three people sitting in the forest taken during Christina Bateman and Annie McKay's journey from Prince Albert to La Ronge, Saskatchewan. The women are presumably Bateman, and McKay, the man unknown.

Three tepees in an early Indian encampment on the prairies. . A few Red River carts are parked beside them, and an Aboriginal woman and a dog are in foreground.

Native Studies Thesis (Ph.D.)--University of Saskatchewan, 2015.

Philosophy in Culture and Performance Thesis (Ph.D.)--University of California, Los Angeles, 2013.

Discusses results from Photovoice study involving 26 elementary school children. Five findings emerged: dualistic understanding of health vs. unhealthy foods; packaged foods predominated; importance of family; traditional foods viewed as healthier, but few appeared in photographs; despite lack of photographs, children liked to eat fruits and vegetables when available at home.

A large boulder from the Kamsack area with a Thunderbird etched upon it by Aboriginal peoples.

Examines aspects of Aboriginal personhood as it relates to photographic images of the dead.

Interview with the Cree artist.

Interview with the Tuscarora artist; includes a select list of exhibitions and bibliography.

Interview with the Yuchi artist and photographer.

Interview with the Mohawk artist; includes select list of exhibitions of her work.

Examines the ways in which photography, both past and present, by Western photographers and the Aboriginal character of Will, is used as a plot device in the novel. Entire issue on one pdf. To access article, scroll down to appropriate page.

A Christmas card with a photograph of a Tipi and Red River style wagon in the winter. The photo was taken at dusk and an inscription reads: Sunset in the Canadian West 1872. There is no date on the card, but it appears to be from the early to mid 20th century.

An exterior shot of tipis set up outside Western Development Museum. The woman in picture could be Mabel Redbear (or Bear) from the Whitecap Reserve at Moose Woods.

Paintings of totem pole villages created in the early 20th century done by Emily Carr and other artists. The voice of First Nations people describes and provides context for the artworks.

Book review of: To Walk in Beauty: A Navajo Family's Journey Home by Stacia Spragg-Braude.

On back of photo: Tombstones at Batoche, Saskatchewan mark the final resting place of many of Louis Riel's companions. Riel's grave is in Winnipeg, where he was born. The Batoche church is in the background and the rectory, to the left of the church, is now a museum.

A close-up of a totem pole; three totem poles in background. Kitwanga, BC.

A photograph of a large totem pole at a tourist site called Prospect Point, British Columbia. From the clothing worn by the people in the picture it appears to have been taken in early to mid 1960s.

Postcard of totem pole by the Skeena River in BC. 'Skeena River / B.C.' at bottom of postcard.

1 postcard depicting a totem pole at the base of a deforested bank. Unidentified location in B.C.

A colour photograph of a large totem pole in Victoria B.C. taken in the mid 20th century.

A photograph of a totem pole in Jasper, Alberta, April, 1951.

Handwritten annotation on back: "1. Keebu - wolf 2. Hpeesunt - woman with 2 half-bear children 3. Keebu - wolf head down 4. Smaih - bear 5. Keebu - wolf head down 6. Smaih - bear"

A Caucasian man and child posing in front of totem pole in Prince Rupert, BC.; summer scene. Title from front of postcard.

A totem pole workshop in "Esquiremault", B.C.

A close-up of 8 totem poles.

Group of four totem poles; summer scene.

A group picture of 19 totem poles.

Examines two Surrealist artists' common views on Native American art and culture.

Illustrated booklet of totems, including five postcards: three are entitled 'Indian Totem Poles, Kitwanga, BC'; one entitled 'The Lion Totem of Kitwanga, BC'; and one entitled 'Totem Poles Stanley Park Vancouver B.C.' Description sheet duplicates some text in booklet.

Photocopied page showing a sketch of Touchwood Hills Post in 1861, and a sketch of Fort Pelly from [1876]. Photocopied page from Canadian Geographic Journal, n.d.

Examines the historical contributions made by autochrome transparencies of Aboriginal families.

Article provides a literary historical reading of photographs from the Bureau of Indian Affairs’ (BIA) photo archive of the “relocation project.” Discusses the relocation as both an institutional and an aesthetic venture.

Sketch of the town of Prince Albert, [North West Territories], showing a number of residences include Louis Schmidt's home and homes of other prominent citizens. Also shown are various businesses and a church mission.

A photograph of the personal effects of someone [Aboriginal] hanging on a large wooden rack and on tree branches in the Prince Albert District, NWT [1901]. A dog lies on the ground beneath the structure.

Historical note:

58 images (14 scanned here) of Inuit and First Nations singers and dancers performing in Saskatoon on August 18, 1980.

Website for traveling exhibition includes links to two curatorial essays and biographies and works by 24 artists from the collection of Indian and Northern Affairs Canada.

Black and white archival photographs with annotations.

On information card: Dogsled and Eskimo driver, on sea ice.