| Cambridge Galleries | ||
| Kamloops Art Gallery |
Art Gallery of Greater Victoria |
Transporters: Contemporary Salish Art
Andrea Walsh, Cathi Charles, Wherry and John Elliot and Wil George
This publication features the work of ten Salish artists from Southwest British Columbia and Washington State in a cross-section of ideas and images that express Salish visions of the land and critiques of cultural appropriation. Some artists have transported classical Salish design principles into the present, while others claim unexplored visual territory with their work and aspire to bring about new understandings of Salish thought and visual language. The principal text is accompanied by essays on the history of Salish practice and on Sencoten language and poetry. Participating artists include Lawrence Paul Yuxweluptun, John Marston, Luke Marston and Maynard Johnny Jr.
Art Gallery of Greater Victoria (11/2008) 60 pp 25 col. ill. 10 x 8 in softcover 978-0-88885-193-2 $29.99 (24 euros)
Marianne Nicolson: The Return of Abundance
Charlotte Townsend-Gault and Lisa Baldissera
Marianne Nicolson's major painting works and sculptural installations embody current cultural narratives while incorporating traditional First Nations formats. The artist comments, "Each of the works in this exhibition considers the temporal relationship of contemporary Kwakwaka'wakw experience to our historical experience. My works examine the complexities of cultural change and adaptation on both the personal and communal level." Nicolson's work has been exhibited at National Museum of the American Indian and International Museum of Film and Photography.
Art Gallery of Greater Victoria (02/2008) 38 pp 8 col. ill. 10 x 8 in softcover 978-0-88885-191-8 $14.95 (12 euros)
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Art Gallery of Hamilton |
Alt.shift.control: Musings on Digital Identity
Steve Loft & Shirley Madill
Catalogue of an exhibition produced in conjunction with the Native Indian/Inuit Photographers' Association and featuring digital photography by three Native artists. Larry McNeil (Idaho) has exhibited at the Ansel Adams Center for Photography and the Institute of American Indian Arts Museum. Lita Fontaine (Manitoba) has exhibited at Neutral Ground and Tribe Gallery. Rosalie Favell (New Mexico/Toronto) has exhibited at the University of New Mexico's Sommers Gallery and the Canadian Museum of Civilization).
Art Gallery of Hamilton (2000) 26 pp 6 col. ill. 8x7 in. 0919153674 $8.00 (Can./U.S.)
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Cambridge Galleries
Shelley Niro: Almost Fallen
Ivan Jurakic and Steve Loft
This new photo series draws upon historical parallels between Native identity and the Canadian landscape. Niro appropriates media constructed stereotypes of the 'Indian' to question our assumptions and expectations. She uses her artmaking as a means of communicating dignity, humanity and humour. Shelley Niro is a member of the Turtle Clan, Bay of Quinte Mohawk from the Six Nations Reserve. Published in collaboration with Urban Shaman Gallery.
Cambridge Galleries (06/2008) 32 pp 13 col. ill. 9 x 7 in softcover 978-1-897001-30-1 $10.00 ($12.00 U.S. / 8 euros)
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Canadian Cultural Centre / Centre culturel canadien |
Osopikahikiwak: Jane Ash Poitras & Rick Rivet
Catherine Bédard, Gerald McMaster, Barry Ace, Elisabeth Védrenne
"Osopikahikiwak" means "painters" in Cree. Poitras and Rivet are Native Canadians whose practice and concept of painting is marked by a wish to perpetuate the symbols and images whose pictorial elaboration illustrates a tragic destiny. Poitras' paintings - layered with photographs, text and hieroglyphics - are strong, bright and immediate, visually and politically charged, and full of memory. Rivet's paintings are half-toned, less obvious and more mysterious. Drawn from shamanic symbolism, his figurative images have been submerged into a quiet, melodious whole blending abstract-expressionism, primitivism and graffiti.
"Osopikahakawak" signifie "peintres" dans le langage Cree. Poitras et Rivet sont des Amérindiens canadiens pour lesquels la pratique et la conception de la peinture sont profondément marquées par le souhait de perpétuer des symboles et des images dont l'élaboration du tableau monte un destin tragique. Poitras fait une peinture puissante, immédiate, très imagée et engagée, et haute en couleurs. L'oeuvre de Rivet est plus composée et mystérieuse. Tirés d'une tradition chamanique, ses images figuratives se métamorphose en formes minimales submergées dans une ensemble médiataive composant l'expressionisme abstrait, le primitivisme et le graffiti.
Canadian Cultural Centre / Centre culturel canadien, Paris (1999) 115 pp 32 col. ill., 8x8 in 1896940110 $32.00 (Can./U.S.)
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Carleton University Art Gallery |
Anthem: Perspectives on Home and Native Land / Hymne : Points de vue sur la terre de nos aïeux
Ryan RiceArtists from across Canada identify varying forms of nationhood that either serve or detract from the concept of a national accord. Each artist explores the discourse to include not only colonial histories, but also distinctive and multicultural liberties such as treaties, blood, languages, sexual orientation, faith, and oral traditions. The dynamic range of art works exhibited expose and accept the diverse forms of nationalism that exist across the country. In English and French.
Carelton University Art Gallery (02/2008) 64 pp col. ill. 11 x 9 in hardcover 978-0-7709-0519-4 $25.00
Glenna Matoush: Requicken
Ryan Rice & John Grande
Ojibway artist Glenna Matoush was trained as a printmaker but now works primarily as a painter. Her expressionistic style moves fluidly between the figurative and the abstract and her work is informed directly by nature through the integration of birch bark, leaves, earth and stones into her work. Matoush addresses contemporary social and political Aboriginal issues, including the environmental destruction she has witnessed in Cree territory in Northern Quebec, and the despair caused by AIDS and the reclamation of culture. This first monograph on the work of Glenna Matoush contains essays by Ryan Rice, Aboriginal curator in residence at the gallery, and by well-known arts writer John Grande.
Carleton University Art Gallery (09/2006) 40 pp 18 col. ill. 9 x 7.5 softcover 0-7709-0210-2 $20.00 Can./U.S. (16 euros)
Robert Houle's Palisade
Michael Bell
Houle's visual arts practice applies formalist demands to activist initiatives to review the history of the interactions of the North American Indian and the colonizers. The eight large vertical canvases that make up Palisade represent the eight forts captured by Pontiac's Confederacy in 1763. Through the addition of digital graphic collages and historical documentation, Houle powerfully relates the colonial army's retaliation to these defeats: the systematic introduction of plagues, especially smallpox. Dyck's essay provides an interpretation of the work and its historical context. Robert Houle, a Manitoba native, has exhibited widely, notably at the Museum of Contemporary Canadian Art and The Art Gallery of Ontario.
Carleton University Art Gallery (2001) 42 pp 12 col. ill., 8x9 in. 077090453X softcover $20.00 (Can./U.S.)
Kanata: Robert Houle's Histories
Michael Bell
The book documents a native artist's response to the icon of Canadian History: Benjamin West's The Death of General Wolfe in the National Gallery of Canada, and contains an extensive interview with the artist.
Carleton University Art Gallery (1993) 27 pp ill. hardcover $20.00 (Can./U.S.)
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Foreman Art Gallery / Galerie d'art Foreman |
Lore
Ryan Rice
This publication of a group exhibition seeks to show First Nations oral tradition as a living entity that incorporates new elements such as video, written text and visual images. With work by Duane Linklater, Jason Lujan, and Tania Willard. Ryan Rice is the author of numerous publications on contemporary art by First Nations artists and a founding member of the Aboriginal Curatorial Collective. In English and French.
Cette publication accompagne une exposition collective dédiée à la tradition orale selon la perspective des Premières Nations. Les œuvres de Duane L inklater, Jason Lujan et Tania Willard démontent que cette tradition est une entité vivante qui incorpore de nouveaux éléments tels que la vidéo, les textes écrits et les images. En français et anglais.
Foreman Art Gallery (10/2008) 28 pp col. ill. 8.5 x 6 in softcover 978-0-9783976-4-7 $17.00 Can. ($19.00 U.S. / 10 euros)
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Kamloops Art Gallery |
Overstepped Boundaries: Powerful Statements by Aboriginal Artists in the Permanent Collection
Ayla Joe, Erika Lakes & Julienne Ignace
An exploration of the gallery's collection of traditional and contemporary works of art by Aboriginal artists. The three young Aboriginal women who curated the exhibition discuss art history and issues of tradition, identity, and innovation, and learn the process of creating an exhibition for a public gallery.
Kamloops Art Gallery (04/2007) 32 pp col. ill. 7 x 5 in softcover 978-189549768-7 $9.99 Can./U.S. (8 euros)
Rebecca Belmore: Fountain
Jessica Bradley & Jolene Rickard
The art of Rebecca Belmore - whether installation, video or photograph - is based in performance, a medium she sees as shared by old traditions and modern expression, at once indigenous and international. The sense of loss is always explicit and specific: lost battles, lost culture and lost language. Yet despite the difficult subject matter, her work is always infused with a sense of play and wonder. Fountain, a performance-based video installation, has been conceived specifically for the Biennale. The time is both today's industrialized landscape and another time of creation, myth and prophecy. As befits current events, we do not know whether this is a metaphor for creation or an apocalyptic vision. Rebecca Belmore is an Anishinabekwe artist working out of Vancouver. She has exhibited internationally, most notably at Santa Fe's Institute of American Indian Art, the Heard Museum and the National Gallery of Canada. She also represented Canada in a group exhibition at the 1998 Sydney Biennale. Official publication of Canada's representation at the 2005 Venice Biennale.
Kamloops Art Gallery (2005) 108 pp 28 ill (16 col.) 10 x 7 in softcover 0-88865-634-3 $20.00 Can./U.S. (16 euros)
Daphne Odjig: Four Decades of Prints
Morgan Wood & Jann LM Bailey
This outstanding publication documents just one aspect of a multi-faceted career spanning forty years. Essays and numerous colour prints allow us to celebrate aboriginal cultural heritage through the eyes of one of Canada's most remarkable artists. Wood explores Odjig's life and work and her significance in the promotion of First Nations art and artists in Canada. Bailey recounts the development of the gallery's collection of Odjig's prints, the largest of any institution in the country. Sylistically, Odjig has taken traditional Northwest Coast Native art and transformed it into something new and personal. Daphne Odjig is the recipient of The Order of Canada and the Aboriginal Achievement Award. She represented Canada at World Expo Japan and has exhibited in numerous international exhibitions. Daphne Odjig was born in 1909 and continues to work to this day.
Kamloops Art Gallery (2005) 64 pp 24 ill. (col.) 10 x 9 in
Softcover 1-895497-61-2 $19.99 Can./U.S. (16 euros) / Hardcover 1-895497-62-0 $34.99 Can./U.S. (28 euros)
Daphne Odjig : Quatre décennies de gravures
Jann LM Bailey et Morgan Wood
Première monographie en français dédiée aux gravures de cette artiste amérindienne exceptionnelle. Cette publication accompagne l'exposition de Odjig qui a fait le tour du Canada. Les essais et les maintes planches couleurs nous permettent de célébrer l'héritage culturel amérindien à travers l'œuvre de Odjig. Née en 1919, Daphne Odjig doit quitter l'école à un jeune âge suite à une maladie. Durant sa convaléscence, elle découvre et développe ses abilités artistiques. Dans les années 1970, Odjig et son mari ouvrent le 'Odjig Indian Prints of Canada', lieu tremplin pour des artistes tels Alex Janvier et Norval Morisseau. Âgée de 87 ans, l'artiste est toujours prolifique. Wood explore la vie et le travail de Odjig ainsi que son rôle dans l'avancement de l'art et des artistes des Premières nations. Bailey discute le développement de la collection de gravures de l'artiste par la Kamloops Art Gallery.
Kamloops Art Gallery (05/2006) 64 pp 24 ill. coul. 25 x 20 cm souple 1-895497-64-7 $19.99 (16 euros)
Re tsúwets re Secwepemc: The Things We Do
Marianne Ignace, Ron Ignace & Gerald Etienne
A discussion of the way in which contemporary Secwepemc (Shuswap) people live their cultural traditions as part of an ancient and continuing way of life, as well as a glimpse at their own history of photography. Produced in conjunction with the Secwepemc Cultural Education Society.
Kamloops Art Gallery (1999) 21 pp 8 x 10 in 13 ill.(11 col.) (no ISBN) $7.95 (Can./U.S.)
North American Indian Art: It's a Question of Integrity
Alfred Young Man
Young Man's essay addresses a broad range of issues concerning the relationship between Native and non-Native cultures. He explores contemporary art produced by First Peoples artists in relation to dominant Western models and considers stereotypes perpetuated through poular culture.
Kamloops Art Gallery (1998) 48 pp 8x10 in 62 ill.(13 col.) 1895497337 $19.95 (Can./U.S.)
David Neel: Living Traditions
David Neel & Andrew Hunter
Working as both photographer and mask carver, Kwaglutl artist Neel expresses the realities of the contemporary world with power and feeling.
Kamloops Art Gallery (1998) 16 pp 9x9 in 90 col. ill. 1895497353 $15.00 (Can./U.S.)
Making an Impression: Contemporary Moccasins of the Shuswap
Jann Baily & Sarah Jules
A look at the history of this people's traditional footwear, tracing its roots and examining how contemporary Shuswap still decorate and wear the moccasins. A short history of the people is also included.
Kamloops Art Gallery (1997) 24 pp 8x12 in col. ill., 1895497248 $9.95 (Can./U.S.)
Mary Longman: Traces
Gerald McMaster, Mary Longman
Attesting to the role played by memory in aboriginal culture, Longman's sculptural work connects family, traditiona and community.
Kamloops Art Gallery (1996) 32 pp ill., 11x7 in 1895497213 $12.95 (Can./U.S.)
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Museum London |
Between You and Me
Patricia Deadman & Debra Prince
Insight into the work of ten Canadian Aboriginal artists is provided by First Nations curator Patricia Deadman and Debra Prince, co-founder of Urban Shaman and a coordinator at the Banff New Media Institute. Identifying the key thrust behind this large and varied oeuvre as the control of cultural truths, Deadman maintains that Native contemporary artists are creating a new space from both Native and non-Native cultures. "Modernist art by contemporary Indian artists offers access to Native perceptions through a cultural language that has been forged between the two views of art." Prince's intimate account of her struggle as a Native woman artist, curator and organizer is presented as a personal and collective experience. Artists include George Littlechild and Fair Skinned Indian Productions. With artist statements and biographies.
Museum London (2002) 66 pp 23 col. ill. 9x8 in softcover 1-895800-73-0 $12.95 (Can./U.S.)
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National Gallery of Canada / Musée des beaux-arts du Canada |
Daphne Odjig (English edition)
Bonnie Devine, Duke Redbird & Robert Houle
The discovery, in the 1950s, of the ancient iconography of the Algonkian people was a lightning rod for the collective Aboriginal conscience in Canada. When Daphne Odjig and Norval Morrisseau began to produce paintings in the 1960s depicting the Algonkian legends they were heralded as the heirs of that ancient lineage. As Morrisseau pursued his characteristic iconic style, Odjig developed a varied and experimental graphic and narrative practice. Comparisons have been drawn between her work and cubism, surrealism and abstract-expressionism. Yet, while her aesthetic investigations place her outside any one stylistic genre, her themes and imagery remain distinctly Aboriginal. The drawings and paintings presented here represent forty-four years of Daphne Odjig's artistic production and include examples of her legend paintings, history murals, erotica, abstractions and landscapes. As a group, these works articulate the breadth of Odjig's visual engagement with her personal and cultural history. As a linear narrative, they trace the remarkable development of the artist from initial experimentation to mature mastery of her media. Daphne Odjig has exhibited worldwide and is a 2007 recipient of the Governor General's Award in Visual Arts, the country's highest such honour.
National Gallery of Canada (2007) 144 pp col. ill. 11 x 8 in softcover 978-0-88884-840-6 $44.95 Can./U.S. (36 euros)
Daphne Odjig (édition en français)
Bonnie Devine, Duke Redbird et Robert Houle
Au nombre des grands artistes du Canada, on doit sûrement faire figurer les artistes algonquiens. Cette iconographie ancienne a suscité une prise de conscience collective au début des années 1950 lors de la découverte des pétroglyphes en Ontario. Dans les années 1960, lorsque Daphne Odjig et Norval Morrisseau ont choisi d'exécuter des peintures illustrant les légendes algonquiennes, ils ont été aussitôt salués comme les héritiers de cette ancienne lignée. Pendant que Morrisseau a rarement dévié du style qu'il avait lancé dans les années 1960, Odjig a développé un langage pictural expérimental axé sur la narration et la forme graphique, un mode d'expression entièrement personnel et unique dans l'art canadien. Les dessins et peintures présentés dans cette publication représentent quarante-quatre ans de la production artistique de Daphne Odjig. On y retrouve des exemples de ses peintures de légendes, de murales historiques, d'œuvres érotiques, d'abstractions et de paysages. Ces œuvres retracent le caractère expérimental de l'artiste à ses débuts jusqu'à sa période de maturité où celle-ci fait preuve d'une grande maîtrise de plusieurs techniques. En 2007 Daphne Odjig a été récipiendaire du prix du Gouveneur-général dans les arts visuels.
Musée des beaux-arts du Canada (2007) 144 pp 28 x 20 cm 978-0-88884-841-3 $44.95 (36 euros)
Inuit Sculpture Now
Christine Lalonde
A look at sculpture from the past decade and the subtle changes that have come to play in the artists' approaches to their subjects and their media.
National Gallery of Canada (2005) 36 pp 21 col. ill. 11 x 7 in softcover No ISBN $8.00 Can./U.S (6 euros)
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The Ottawa Art Gallery / La Galerie d'art d'Ottawa |
Oh So Iroquois / Tellement Iroquois
Ryan Rice et al
Publication of a group exhibition featuring the work of two dozen artists who belong to the Iroquois Confederacy, an historical alliance of many nations scattered over two countries and countless urban centres. Essayists explore the dynamism of both traditional and contemporary Iroquoian creative processes, discussing work that is deeply rooted in a cultural system of values and æsthetic qualities that permeate contemporary social, political, spiritual, and economic life. Together, as members of the Confederacy, these artists affirm and examine this collective art history through symbolism, narrative, colour, and contemporary and traditional media. By presenting a broad range of art situated in relation to an Iroquois world-view, the project aims to challenge the long-standing pan-Indian classification of Native North American art. Participating artists include Shelley Niro, Greg Staats and Jeff Thomas. In English, French and Mohawk.
Englobant plus de seize collectivités, deux pays et de nombreux centres urbains, la Confédération iroquoise se distingue toujours comme six nations unies par une même idéologie. Cette publication d’une exposition collective fait valoir le dynamisme de la créativité iroquoienne actuelle et traditionnelle, et propose des œuvres ancrées dans les valeurs culturelles et esthétiques dont est imprégnée l'infrastructure sociopolitique, spirituelle et économique de cette société. Avec la participation d’une vingtaine d’artistes, notamment Shelley Niro, Greg Staats et Jeff Thomas. En français, en anglais et an mohawk.
The Ottawa Art Gallery / La Galerie d’art d’Ottawa (09/2008)
140 pp 32 col. ill. 8 x 10 in hardcover / couverture rigide 978-1-894906-29-6 $30.00 Can. ($34.95 U.S. / 24 euros)
Ron Noganosh: It Takes Time
Tom Hill & Lucy R. Lippard
Noganosh's found objects, sculptures and installations speak of the difficult and manifold issues faced by contemporary native communities: environment, natural resources, territory, culture, language, poverty and self-governance. Central to his work is the knowledge that these concerns are shared by communities in other countries and cultures. While maintaining that humour has been a mainstay of his production, Hill describes Noganosh's twenty year practice as "increasingly morose"; a constant articulation that death is an integral aspect of everyday life of a First Nations person. American cultural critic Lippard writes about the unique contribution Noganosh and other Native artists have made to the genre of found objects and assemblages, bringing a particular meaning and memory to things that have been used and discarded. In English and French.
It Takes Time est la première exposition qui pose un regard analytique et critique sur l'évolution d'une pratique artistique depuis vingt ans. Le travail de Ron Noganosh aborde les multiples enjeux auxquels font face les communautés autochtones : environnement, ressources naturelles, territoire, culture, langue et autonomie. Son emploi d'objets trouvés dans les assemblages et des installations est particulier car les niveaux implicites de sens, d'histoire et de mémoire imbriqués dans les objets rejetés possèdent une signification spéciale pour une peuple qui ont subi que leur part de traitement similaire. En Français et Anglais.
The Ottawa Art Gallery / La Galerie d'art d'Ottawa (2001) 80 pp 21 ill. (14 col.) 9x6 in 1895108659 hardcover $25.00 (Can./U.S.)
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The Robert McLaughlin Gallery |
Robert Houle: Troubling Abstraction
Carol Podedworny, Mark A. Cheetham, Gerald McMaster & W. Jackson Rushing III
Robert Houle has been a visionary artist since the beginning of his career. "Native artists," he wrote in 1982, "are committed to involvement in the polemics of modern art. Meaning derives from living in the twentieth century, where painting ranges from realism to abstraction and sculpture varies from shamanism to assemblage." Employing the traditions of modernist painting, particularly as practiced by Jackson Pollock and Barnett Newman, Houle has tenaciously insisted on reciprocity among the aesthetic and cultural specificities with which he engages. After years of breathtaking solo exhibitions, he returns here to his first stylistic impulse: abstraction and the parfleche figure. This important publication, with three essays and an artist's statement, documents a unique and vital side to Houle's innovative artistic practice. Mark A. Cheetham is Chair of the Department of Art at the University of Toronto. Gerald McMaster is Curator of Canadian Art at the Art Gallery of Ontario. W. Jackson Rushing III is the author of numerous books, notably, Native American Art in the Twentieth Century (Routledge) and Allan Houser: An American Master (Abrams).
McMaster Museum of Art / The Robert McLaughlin Gallery (11/2007)
105 pp 36 ill. (24 col.) 7 x 5 in softcover 978-0-9783585-2-5 $20.00 Can./U.S. (16 euros)
Mary Anne Barkhouse: Boreal Baroque
Jeff Thomas & Linda Jansma
Mary Anne Barkhouse belongs to the Nimpkish band, Kwakiutl First Nation. Her sculptural work examines environmental concerns and indigenous culture through the use of animal imagery. Wolves, ravens, moose and beaver are juxtaposed against a diversity of background situations. In Boreal Baroque, the work's setting is inspired by the palatial grounds at Versailles where the wild is juxtaposed with the wildly opulent.
The Robert McLaughlin Gallery (06/2007) 64 pp 16 col. ill. 9 x 7 in softcover 978-0-921500-85-8 $20.00 Can./U.S. (16 euros)
Carl Beam: The Whale of Our Being
Joan Murray
Carl Beam gained international recognition in two watershed exhibitions, the National Gallery's Land, Spirit, Power and the Canadian Museum of Civilization's Indigena. His practice is based on collage and photographic imagery and is imbued with Native issues of land and repatriation. The Whale of Our Being, a multitude of paintings and prints produced since 1996, makes the whale a metaphor for looking at the world. "Under the umbrella of the whale are commodification and dollars and killing, all things possible. The Whale of Our Being includes whatever has happened to the whale, which in some kind of way happens to everything else."
The Robert McLaughlin Gallery (2002) 60 pp 13 col.ill. 8x8 in. softcover 0921500645 $10.00 Can./U.S.
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Southern Alberta Art Gallery |
Tanya Harnett: Persona grata
David Garneau
Tanya Harnett’s new series of photographic works explore the many and diverse layers of her being through self-portraiture. Harnett reflects on her First Nations heritage and how it has been culturally defined and redefined through the parameters of a westernized education. The complexity of this history is subtly but relentlessly pursued through the lens of the camera.
Southern Alberta Art Gallery (06/2008) 58 pp 19 col. ill. 9 x 6 in softcover 978-1-894699-41-9 $20.00 ($22.95 U.S. / 16 euros)
Faye HeavyShield: Blood
Paul Chaat Smith
Faye HeavyShield was born on Alberta's Stand Off Reserve and is a member of the Blood nation. Her minimalist installations are powerful fusions of her Christian and Native backgrounds. After a lengthy hiatus HeavyShield presents a powerful new work, Blood, an evocation of the personal, political and historical realities of the First Nations' experience. Paul Chaat Smith is associate curator at the Smithsonian's National Museum of the American Indian and author of Like a Hurricane: The Indian Movement from Alcatraz to Wounded Knee (New Press). His essay intertwines thoughts on the work of Faye HeavyShield and on the opening of National Museum of the American Indian in Washington DC.
Southern Alberta Art Gallery (10/2005) 48 pp 14 ill. (6 col.) 9 x 6 in softcover 1-894699-30-0 $15.00 Can./U.S. (11 euros)
Gwen MacGregor: Fold It Up and Put It Away: Fernie's Curse
Andrew Forster
A specific historical event, the story of a tribal curse on the artist's hometown, is revived in an anecdotal rather than archeological way. Through myth, printed records, film and oral history, McGregor reveals the story of the creation of the curse by members of the Tobacco Plains band and its ultimate ceremonial lifting in 1964. Personal memory is woven into the social and political aspects of the event.
Southern Alberta Art Gallery (1999) 82 pp 45 ill. (28 col.) 8.5x5 in./ 21x14 cm., 0921613881 $12.00 Can./U.S. (10 euros)
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Drive By: A Road Trip with Jeff Thomas
Anna Hudson, Dave Bidini and Andrea Naomi WalshJeff Thomas’ photographs explore the juxtapositions of past and present and of historical imagery and contemporary reality in the relationship between Native and non-Native peoples. These new photographs document a road trip of inter-cultural exploration with Thomas at the wheel. As if from his passing car he gives us ‘snaps’ of historical monuments and public architecture whose designs and facades incorporte depictions of Indians. Seen from Thomas’ perspective the evidence of First Peoples' influence on popular culture and their power within contemporary society is abundant and ominpresent. Three essays accompany a text by the artist. Jeff Thomas is an Iroquois/Onondaga photographer born in Buffalo, New York and now living in Ottawa. His works can be found in many major collections including the Smithsonian Museum of the American Indian.
University of Toronto Art Centre (May 2008) 64 pp 46 col. ill. 7 x 9 in softcover 978-0-7727-0656-0 $24.00 Can. ($26.00 U.S/ 19 euros)
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Lita Fontaine: Without Reservation
Catherine Mattes
The Dakota/Ojibwa artist's montages refer to the effects of colonization, such as racial stereotypes, residential schools and government treaties. Other motifs include family photographs, beadwork and the drum. As a tribal feminist she resists the social images of Aboriginal women.
The Winnipeg Art Gallery (2001) 26 pp 12 ill (3 col.) 8.5x8.5 in 088915211X $11.00
Rielisms
Catherine Mattes & Sherry Farrell Racette
Nine artists - of Aboriginal, Metis and European ancestry - work to define the reality of Louis Riel, the 19th century Metis political organizer who was hung as a traitor. Mattes demonstrates that the identity of Riel varies widely in the public imagination and that he remains a conflicted symbol of current political ideologies. Artists include John Boyle, Rosalie Favell and Jane Ash Poitras.
The Winnipeg Art Gallery (2001) 64 pp 23 ill. 10.5x8 in softcover 0889152012 $20.00 Can./U.S.
Robert Houle: Sovereignty over Subjectivity
Shirley Madrill, Peggy Gale et al
The First Nations painter and installation artist investigates cultural issues in Canadian history with passion, humour and honesty. Four essays by Native and non-Native, Canadian and non-Canadian writers elucidate three recent works.
The Winnipeg Art Gallery (1999) 56 pp 16 col. ill. 28x22 cm softcover softcover 0889151903 $19.95 Can./U.S.
Robert Houle: Indians from A to Z
Dr. Jennifer S.H. Brown et al
The Winnipeg Art Gallery (1990) 50 pp 25 col. ill. 24 x 16.5 cm 0889151563 $20.95 Can./U.S.
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