Photography

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

Group of four totem poles; summer scene.

A close-up of 8 totem poles.

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.

An Inuit man driving a power toboggan, aka snowmobile facing camera.

Trapper posing in front of cabin, with snowshoes in left hand and rifle in right; winter scene.

Image of coop/trap in foreground with house in background. Description on back reads: "Trapping Prairie chickens and Sharp-Tailed grouse for exchange with Dakota for Ring-Neck pheasants, year 1936 to 1940s. Davidson Sask. Home Farm."

World Art Studies and Museology Thesis (Ph.D.)--University of East Anglia, 2011.

Discusses the art works created as part of the author's The Treaty Lands Project, focusing on the research conducted for the The Treaty 3 Suite (Outside Promises). Forward and part IX from: Papers of the Rupert's Land Colloquium 2008: The Centre for Rupert's Land Studies at The University of Winnipeg: May 14 to 16, 2008, Rocky Mountain House, Alberta edited by Margaret Anne Lindsay and Mallory Allyson Richard; foreword by Jennifer S. H. Brown.

Local History Room Series PH 91 220 1 to 4 shows tribesmen of Great Plains at an encampment made for the 1939 Royal visit. The Aboriginal men show wear large head-dresses and beaded clothing. A picture of the camp (#4) shows a large crowd, painted teepees, Red Ensign flag and two Union Jack flags. Among significant figures were Gilbert Masketo, oldest chief, and Chief Joe Dreaver, M.M. A colourful figure was Harry Littlecrow of Dundurn Sioux. (None can be specifically identified)

An image of an Aboriginal baby wrapped in blankets and leather. The baby is crying and lying on a cradle board. Colours have been added to the photograph in a chromolithograph process.

Discusses the artist's use of technology in his photo-collages, the Urban Coyote TeeVee blog, and short films.

Explores the life and career of the artist, a Metis from Saskatchewan.

Image of troops at rest in a train car enroute to action in the Northwest Resistance.

Video shows photographs from Canadian Residential Schools and various students speaking about learning the truth about what happened at the residential schools. Duration: 9:00.

A photograph of two Aboriginal (Cree?) men one wearing western clothing, the other in traditional dress at an outdoor event, possibly a pow-wow.

A photograph taken at Stand Off, Alta. on Blood Reserve. Percy Creighton (l) and John Cotton, Blood Indians on Blood Reserve in Stand Off, Alberta. Creighton wears elaborate ceremonial garb complete with head dress; Cotton wears moccasins, cloth wrapped around waist, and necklace. Creighton holds "weasel tail robe" (see LH 2166 for explanation). Cotton is medicine man who was conducting ceremony initiating Alexander of Tunis into Kainai chieftanship.

A photograph of two First Nations child dancers in traditional garb, and a drum circle, 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 and children in traditional garb 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 First Nations man in traditional garb at a ceremony to celebrate the giving of a totem pole to the City of Prince Albert, 1975. The man is recieving a plaque from what appears to be a City official. 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 men mapping the medicine wheel at Tipperary Creek. South Saskatchewan River in background. (Tipperary Creek site later included in Wanuskewin Heritage Park)

Looks at a photographers who spent more than 30 years photographing and recording the lifestyles of Native Americans.

Book reviews: Uncommon Legacies: Native American Art From the Peabody Essex Museum by John R. Grimes, Christian Feest, and Mary Lou Carran. Beyond the Reach of Time and Change: Native American Reflections on the Frank A. Rhinehard Photograph Collection by Simon J. Ortiz.

Image of an unidentified Aboriginal man holding a pipe in his left hand; outdoor scene.

File contains 2 negatives of an unidentified man (possibly a Chief) recieving a plaque from an undintified official at the official opening of the District Chief's Office in Prince Albert, SK, in March, 1988.

A photograph in a scrap book (A-792-2) that shows Santa (Charlie Beattie) with an unknown Native girl at the North Battleford Indian Hospital 25 December 1953.

Discusses how anthropological images were used to portray the group as racially homogeneous, primitive, and uncivilized.

Art History Thesis (Ph.D.)--McGill University, 2018. Focuses on the work of Wendy Red Star, Ken Gonzales Day, Meryl McMaster, Chris Bose, Kent Monkman and Da-ka-xeen Mehner.

Website includes digitized archival images and documents of United Church of Canada missions to First Nations communities in British Columbia during the period of 1850 to 1975.

File contains a negative from a ceremony held in Prince Albert, Saskatchewan by the Urban Indian Association to honour graduates on May 2, 1970. Image shows men receiving diplomas on stage.

Discusses clothes worn by Ute men from the Uncompahgre, Capote, Mauche and White River Bands.

An image of a totem pole in a park setting. The pole in particular is artificially coloured, and may not be a realistic impression of the original artwork.

Originally published in 1917.

"Discusses the significance of photographs as a record of American ideas about the education of Native Americans during the last years of the 19th Century." Entire issue on one pdf. To access article, scroll down to appropriate page.

Interview with Jimmie Durham before the opening of his exhibition entitled A Matter of Life and Death and Singing at M HKA.

Comparative Arts and Letters Thesis (M.A.)--Brigham Young University, 2016.

Explores issues surrounding the ethics of representation in photography and film-making.