Bibliography
The following bibliography was carefully compiled between 2005 and 2007 by the founding Board members of the ICCA. It is presented below, in its original form with the original introduction, as a tool for those interested in researching about Indigenous art history.
In 2011, Sherry Farrell Racette received a Social Sciences and Humanities Research Council (SSHRC/CRSH) grant to research an extensive contemporary Indigenous art history project in partership with ICCA. Since that time, ICCA has partnered with the Indigenous Art History Archive Project (Sherry Farrell Racette, University of Manitoba) and Concordia University (Heather Igloliorte) to create a categorized, searchable online bibliographic database focused on the contributions of Indigenous scholars. Upon completion, the expanded (although not exhaustive) bibliography will be available through the ICCA website. In creating the expanded list of bibliographic references on First Nations, Métis and Inuit art, the ICCA aims to offer a wide range of resources for those researching contemporary Indigenous visual art. The new bibliography will include references to mainstream publications, master’s theses, doctoral dissertations, brochures, catalogues, and other relevant sources of information concerning Indigenous Art History, highlighting the works of Indigenous curators and writers who contribute their distinct voices to the discourse of contemporary art.
If you have conducted research in the Indigenous arts and have bibliographic material to share, or if you are an Indigenous artist, curator, or scholar and would like your publications included in this list, please send your complete references to j.stilborn@icca.art. Additionally, if you have a digital copy of one of the following publications, you are encouraged to contribute. Consistent formatting and suggestions for keywords are NOT required (but welcome).
ACC/CCA Bibliographic References (2007 list)
In collecting an extensive (but not exhaustive) list of bibliographic references on First Nations, Métis and Inuit art, the Indigenous Curatorial Collective aims to offer a wide range of resources for those researching contemporary Indigenous visual art. The bibliography includes mainstream publications as well as master’s theses, doctoral dissertations, brochures, and catalogues. The ACC’s bibliographic reference acknowledges and highlights the works of Indigenous curators and writers who contribute their distinct voice to the discourse of contemporary art.
The list was developed to be used as a resource tool, as well as the first step towards initiating an archive that will lead to the ACC becoming a repository for such works. There are a number of bibliographic lists compiled and published that include Lawrence Abbott’s Contemporary Native Art I and II: A Bibliography in American Indian Quarterly Vol. 29 # 3 and 4, and Janet Berlo and Ruth Phillips include one in their publication Native North American Art (Oxford History of Art) 1999. Inuit Art has several extensive bibliographies published by Indian and Northern Affairs Canada (1992) and the most recent Richard and Susan Crandall’s An Annotated Bibliography of Inuit Art (2001). For this specific reason, the list referencing Inuit Art will begin in 2002 on.
The intent of the ICCA is not to duplicate or replace other services, but to give support to students, curators, artists, researchers, art historians and the general public in the course of researching and accessing information. Many libraries, museums, galleries, cultural centres as well as bookstores have on-line databases to check the availability of the publication. Some significant places to access these publications as well as “artist files” include university libraries, Artexte, Indian and Inuit Art Centres (Indian and Northern Affairs Canada), the Canadian Museum of Civilization, Atlatl, the National Gallery Of Canada, and the Heard Museum among others.
ICCA would like to thank all those who contributed their personal bibliographies, and we would like to encourage all those in the field to submit their recent work to the list so that the ICCA bibliography on Indigenous art will grow and continue to remain relevant.
Ace, Barry, Ravens Wait (Michael Belmore). Hull, Quebec: Indian Art Centre, April 1999.
Ace Barry, “Rosalie Favell: I searched many worlds.” In Collecting Many Worlds. Winnipeg, Manitoba: Winnipeg Art Gallery. pp. 21-28. 2003.
Ace, Barry, Who Stole the Teepee? ed. Rick Hill and Truman Lowe, Phoenix, AZ, Atlatl Inc. 2002.
Ace, Barry, “Longing and Not Belonging: Rosalie Favell.” In CV Photo. Montreal, Quebec: Productions Ciel Variable 2000, . No.53. pp. 23 – 30. Winter 2000.
Ace, Barry. From Stereotype to Archetype (Maria Hupfield and Danny Cutfeet). Hull, Quebec: Indian Art Centre (DIAND), August 2000.
Ace, Barry. Shamanic Images (Rick Rivet), Hull, Quebec: Indian Art Centre (DIAND), January 2000.
Ace, Barry. pelage (Mary Anne Barkhouse). Hull, Quebec: Indian Art Centre (DIAND), November 1999.
Ace, Barry, Fix The Gaze…The Reparative Act 1999 (Linda Young). Hull, Quebec: Indian Art Centre (DIAND), June,1999.
Ace, Barry, I, (Audrey Greyeyes). Hull, Quebec: Indian Art Centre (DIAND), November, 1998.
Ace, Barry, For Fearless and Other Indians (Shelley Niro). Hull, Quebec: Indian Art Centre (DIAND. October 1998.
Ace, Barry, inter/SECTION. (Jeffrey Thomas). Hull, Quebec: Indian Art Centre (DIAND) January 1998.
Ace, Barry, “Kokiibinaagan: Symbols of Cultural Continuity,” In Celebration of Indigenous Thought and Expression, Sault Ste. Marie, Michigan: Lake Superior State University Press 1995.
Ace, Barry and Gerald McMaster, Osopikahikiwak (Rick Rivet and Jane Ash-Poitras). Canadian Cultural Centre, Paris, France. June – October, 1999.
Ace, Barry and Ryan Rice, Longing and Not Belonging (Rosalie Favell) Hull, Quebec: Indian Art Centre (DIAND). February 1999.
Ace, Barry and July Papatsie, Transitions: Contemporary Canadian Indian and Inuit Art. Hull, Quebec: Indian Art Centre (DIAND) 1997.
Agard, Nadema, “Art as a Medium For Countering Race Stereotypes” In Council on Interracial Books for Children Bulletin Volume 11, Number 8, 1980.
Agard, Nadema, “Southeastern Native Arts Directory,” Indian Studies Department, Bemidji State University, 1993.
Agard, Nadema, “Art as a Vehicle for Empowerment” in VOICES OF COLOR: ART AND SOCIETY IN THE AMERICAS edited by Phoebe Farris Dufrene. Atlantic Highlands (NJ): Humanities Press International, Inc.. 1997.
Agard, Nadema, “Art and Society in the Americas,” Humanities Press International, Inc., Atlantic Highlands, New Jersey, 1997.
Agard, Nadema, “Selu and Kanati: Cherokee Corn Mother and Lucky Hunter.” Mondo Publishing, New York, 1997
Agard, Nadema, “Chicano Art Collector: Cheech Marin.” CIBU Magazine, October 2004.
Agard, Nadema, “Brooklyn Museum to Have a New Entrance Pavilion and Public Plaza,” CIBU Magazine October 2004.
Alfred, Taiaiake, Peace Power Righteousness. Canada: Oxford University Press, 1999.
Alibhai, Amir Ali, George Littlechild: Past & Recent Work, Surrey, BC: Surrey Art Gallery 1996
Alibhai, Amir Ali and Doreen Mellor, Four Circles / Soaring Visions, Richmond, BC: Tandanya National Aboriginal Cultural Institute and Richmond Art Gallery 1998-2000.
Anderson, Duane, Legacy: Southwest Indian Art at the School of American Research. School of American Research, 1998.
Angeconeb, Ahmoo, Cedar And Sweetgrass: Works From The Permanent Collection, Thunder Bay, ON: Thunder Bay Art Gallery 1991
Archuleta, Margaret, 3rd Biennial Native American Fine Arts Invitational, Phoenix, AZ: Heard Museum 1987
Archuleta, Margaret and Rennard Strickland ed. Shared Visions: Native American Painters and Sculptors in the Twentieth Century. Phoenix, Arizona: Heard Museum, 1991.
Arnold, Grant, Monika Kin Gagnon, and Doreen Jensen,Topographies: Aspects Of Recent BC Art, Vancouver, Twentieth Century. Phoenix, Arizona: Heard Museum, 1991. Ash-Milby, Kathleen, “Contemporary Native American Art in the Twenty-First Century: Overcoming the Legacy.” European Review of Native America 2005.
Ash-Milby, Kathleen, Contemporary Native American Art: Reflections after Lewis and Clark. Missoula: The University of Montana Press, Montana Museum of Art & Culture, 2005.
Ash-Milby, Kathleen, “Finding Our Way: Negotiating Community in Contemporary Native Art.” In Making a Noise: Aboriginal Perspectives on Art, Art History, Critical Writing and Community. Banff, Alberta: Banff International Curatorial Institute, Walter Phillips Gallery, 2005.
Ash-Milby, Kathleen, “Still in the Shadows: Native American Art in the 21st Century.” In Transcultural New Jersey: Diverse Artists Shaping Culture and Communities. New Brunswick: Rutgers, The State University of New Jersey, 2004.
Ash-Milby, Kathleen, “The Indian as ‘Artist’: Native American Art at the Rockwell Museum of Western Art.” In People, Places and Ideas: The Rockwell Museum of Western Art. Corning, NY: Rockwell Museum of Western Art, 2001.
Ash-Milby, Kathleen, “Bonita Wa Wa Calachaw Nu’ez: an Indian Princess Painter.” In Painters, Patrons and Identity: Essays in Honor of J. J. Brody and the University of New Mexico, Ed. Joyce M. Szabo, Albuquerque: University of New Mexico Press, 2001.
Ash-Milby, Kathleen, “Lorenzo Clayton.” Native Artists Magazine (Winter 2000).
Ash-Milby, Kathleen, “Lorenzo Clayton.” In Contemporary Masters, The Eiteljorg Fellowship for Native American Fine Art, Vol. I, Indianapolis: Eiteljorg Museum of American Indians and Western Art, 1999.
Ash-Milby, Kathleen, “Who Was Wa-Wa Chaw?” In Talking Stick: Arts Newsletter (2:3): 1999.
Ash-Milby, Kathleen and Susan Heald, “Woven by the Grandmothers: Twenty-four Blankets Travel to the Navajo Nation.” In Journal of the American Institute for Conservation 38:3, 1998.
Ash-Milby, Kathleen,” Textiles at the National Museum of the American Indian.” In Textile Society of America Newsletter (9:1): 1997.
Ash-Milby, Kathleen, Eulalie H. Bonar and D.Y. Begay. “Woven by the Grandmothers: Nineteenth-Century Navajo Textiles from the National Museum of the American Indian: Three Perspectives on a Museum Project.” In Native Peoples Magazine (9:4): 36-42, 1996.
Ash-Milby, Kathleen, “Emblems of Continuity and Change: A Comparison and Analysis of Pre-Reservation and Reservation Period Eagle-Feather Headdresses.” Masters Thesis. University of New Mexico, 1994.
Babinska, Roxane, Shaman Never Die: Jane Ash Poitras And David Ruben Piqtonkun, Ottawa, ON: Galerie d’art Vincent 1998.
Baert, Renea. “Frank Shebageget.” In 3. Ottawa, Ontario: Ottawa Art Gallery, June 2003.
Bailey, Jann LM, Jen Budney, Trish Keegan and Morgan Wood. Daphne Odjig: Four Decades Of Prints, Kamloops, British Columbia: Kamloops Art Gallery, 2005.
Barkhouse, Mary Anne, Raven Heart Collective and Joice Toutsaint, Gatineau, QC: Indian Art Centre (INAC) 2002.
Bauche, D.G., Naheyow: A Portrait Of Allen Sapp And His People, SK: Allen Sapp Gallery 1989
Bear, Edward Ned A., Braided Spirit, NE: UNE Art Centre 1993.
Bear, Shirley, Kospenay, Connexion Gallery 1991.
Bear, Shirley, Changers: A Spiritual Renaissance, National Indian Arts and Crafts, Wellington Corporation 1990.
Belanger, Lance, Decelebration, Ottawa, ON: Saw Gallery and Omniiak 1989.
Berlo, Janet Catherine, editor. Plains Indian Drawings, 1865-1935: Pages from a Visual History. New York: Harry N.Abrams in association with the American Federation of Arts and the Drawing
Center, 1996.
Bernstein, Bruce, Modern By Tradition: American Indian Painting in the Studio Style, Santa Fe, NM: Museum of NM Press, 1999.
Bhabha, Homi K., The Location of Culture. New York: Routledge 1994
Bigfeather, Joanna and Richard William Hill, Rayna Green, Dr. Gregory A. Cajete, Lucy R. Lippard, Native Views: Influences of Modern Culture, A Contemporary Native American Art Exhibition. Ann Arbor, Michigan: Artrain USA, 2004.
Boyer, Bob, and Carol Podedworny. Odjig: The Art Of Daphne Odjig 1960-2000. Toronto, ON: Key Porter Books Limited, 2001.
Brach, Paul et al. Our Land / Ourselves: American Indian Contemporary Artists. Albany, NY: State University of New York, 1990.
Brasser, Ted J. “Bo’jou Neejee!” Profiles of Canadian Indian Art. National Museum of Man, 1976.
Brody, J.J. Pueblo Indian Painting: Tradition and Modernism in New Mexico, 1900-30. School of American Research, 1997.
Brody, J.J. Indian Painters and White Patrons. Univ. of New Mexico Press, 1971.
Buck, Sadie. Keepers Of Our Culture: A Celebration Of Native Women In The Living Arts. Brantford, ON: Woodland Indian Cultural Educational, 1985.
Buck, Sadie. Indian Art ’87. Brantford, ON: Woodland Cultural Centre, 1987.
Buck, Sadie. Indian Art ’85. Brantford, ON: Woodland Cultural Centre, 1985.
Buckingham, Jim. Through An Eagle’s Eye: Four Contemporary Native Artists. Gallery Lambton, 1991.
Burt, Eugene C. Native American Art: 5 Year Cumulative Bibliography, Mid 1983 through 1988. Seattle, WA: Data Arts, 1988.
Butler Palmer, Carolyn. Living Legends: The Artistic Process (David Neel). Gatineau, QC: Indian Art Centre (INAC), 2003.
Cardinal-Schubert, Joan. Mark Makers First Nations Graphics +. Regina, SK: Mackenzie Art Gallery, 1997-1999.
Clark, Janet. Epogan: Recent Work By Peter J. Clair. Thunder Bay, ON: Thunder Bay Art Gallery, 1997.
Clark, Janet and Roy Kakegamic. Mizinatik: The Painting Stick. Thunder Bay, ON: Thunder Bay Art Gallery, 1991.
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Cooke, Lynne, and Karen Kelley, eds. Tracey Moffatt: Free-Falling. New York: DIA Center For The Arts, 1998.
Cosgrove-Smith, Patricia et al. Innovations For a Changing Time: Willie Seaweed: A Master Kwakiutl Artist. Vancouver, BC: Pacific Science Center, 1983 – 1984.
Crain, Glenn A. Indian Art 1979. Brantford, ON: Woodland Indian Cultural Educational Centre, 1979.
Crain, Glenn A. Indian Art ’78. Brantford, ON: Woodland Indian Cultural Educational Centre, 1978.
Crain, Glenn A. Indian Art ’77. Brantford, ON: Woodland Indian Cultural-Educational Centre, 1977.
Crain, Glenn A. Indian Art ’76. Brantford, ON: Woodland Indian Cultural Educational Centre, 1976.
Croft, Brenda L. Indigenous Art. Australia: Art Gallery of Western Australia, 2001.
Crosby, Marcia. “Return to sender: letters from Emily to Chiefs of the Gitanyow.” Vancouver Art Gallery and the National Gallery of Canada. Fall 2005.
Crosby, Marcia. “Heroes, Haidas and Other Myths,” in The Legacy of Bill Reid: A Critical Enquiry. Vancouver: Douglas & McIntyre. 2004.
Crosby, Marcia. “Temlaxham: an ada’ox” in The Group of Seven in Western Canada. Toronto: Key Porter. 2002.
Crosby, Marcia. “Les Nations dans les paysages urbains: l’identite sans terre,” in Ou Va L’Histoire de L’art Contemporain? L’image: Ecole nationale superieure des Beaux-Arts. 1997.
Crosby, Marcia. “Lines, Lineage and Lies or Borders, Boundaries and Bullshit,” and “Nations in Urban Landscapes,” In Nations in Urban Landscapes. Vancouver, EC: Contemporary Art Gallery, 1995.
Crosby, Marcia. “About Being Indian,” in Emily Carr. J. Mastai ED., Vancouver: Vancouver Art Gallery.
Crosby, Marcia. “Speak Sm’algyax Grandma, Speak Haida Grandpa,” in Sharing Our Experience. An anthology of letters from indigenous women and women of color. Arun Mukherjee, Ed. Ottawa: Women’s Advisory for the Status of Women. 1992.
Crosby, Marcia. “The Construction of an Imaginary Indian.” in Vancouver Anthology: The Institutional Polities of Art. Ed. Stan Douglas, Vancouver: Talon Books. 1991.
Crosby, Marcia. in Feminist Cultural Politics: by for and about. Ed. Wendy Waring, Toronto: Women’s Press. 1993.
Crosby, Marcia. in De-scribing Canada: Critical Perspectives on English Canadian Literature and Culture, a Reader. Polish Press Wydawnictwo Slask 2002 in Academic Reading. 2nd Edition. 2002.
Deadman, Patricia. Between You and Me. London, ON: Museum London, 2002.
Deadman, Patricia, Paul Seesequasis and Lynn Hill. Staking Land Claims. Banff, AB: Walter Phillips Gallery and The Banff Centre.
Dickason, Olive Patricia. Indian Arts in Canada. Ottawa, ON: Information Canada (DIAND), 1972.
Dickens, Roy S., ed. Of Sky and Earth: Art of the Early Southeastern Indians. Georgia Department of Archives and History, 1982.
Diamond, Reid and Marnie Fleming. Beaver Tales. Oakville, ON: Oakville Galleries, 2000.
Dinniwell, Norma and Tom Hill. From Masks To Maquettes. Ottawa, ON: INAC; Woodland Indian Cultural Centre; McIntosh Gallery, 1985-1986.
Dion, Francois, Jen Budney and Micheline Dandurand. Bearings: Four Photographic Essays. Ottawa,
Dobkins, Rebecca J., Carey T. Caldwell, and Frank LaPena. Memory And Imagination: The Legacy Of Maidu Indian Artist Frank Day. Oakland, CA: Oakland Museum of California, 1997.
Dockstader, Frederick J. Indian Art in America. New York Graphic Society, 1975.
Douglas, Frederic Huntington. Indian Art of the United States. New York, NY: Museum of Modern Art, 1941.
Doxtator, Dr. Deborah and Lynn Hill. Godi’Nigoha’: The Women’s Mind. Brantford, ON: Woodland Cultural Centre, 1997.
Doxtator, Deborah, ed. Revisions. Banff, Alberta: Walter Phillips Gallery, 1992.
Doxtator, Deborah. “Basket, Bead and Quill, and the Making of “Traditional” Art.” In Basket, Bead and Quill. Thunder Bay, Ontario: Thunder Bay Art Gallery, 1996.
Duffek, Karen. Northwest Coast Art: At a Crossroads. Galleries West, Vol. 4, No. 2, Summer.
Duffek, Karen. Robert Davidson: The Abstract Edge. UBC Museum of Anthropology, Museum Note No. 38, 2004.
Duffek, Karen. Bill Reid and Beyond: Expanding on Modern Native Art. Co-edited with Charlotte Townsend-Gault. Douglas & McIntyre, 2004 / 2005.
Duffek, Karen. The Transforming Image: Painted Arts of Northwest Coast First Nations. UBC Press and the University of Washington Press, 2000.
Duffek, Karen. “Joe David” In Encyclopedia of British Columbia (ed. Daniel Francis). Harbour Publishing, 2000.
Duffek, Karen. “Dancing Cookie, or Encounters in the Museum’s Sacred Space” In Review of Objects and Expressions. Books in Canada, Vol. 28, No. 7, October 1999.
Duffek, Karen. “Book Review: Bella Bella, A Season of Heiltsuk Art by Martha Elack.” The American Indian Quarterly, Vol. 23, No. 3/4, 1999.
Duffek, Karen. “Northwest Coast Indian Art from 1950 to the Present” In the Shadow of the Sun: Perspectives on Contemporary Native Art. The Canadian Museum of Civilization, 1993.
Duffek, Karen. Curatorial Perspective. First Nations Art ’91. Woodland Cultural Centre, 1991.
Duffek, Karen. The End of Indian Art. The Vancouver Step Magazine, January 1991.
Duffek, Karen. “Book Review: Captured Heritage, The Scramble for Northwest Coast Artifacts by Douglas Cole.” Anthropologica, Vol. 32, No. 3, 1990.
Duffek, Karen. Exhibitions of Contemporary Native Art. MUSE, Fall 1989.
Duffek, Karen. Beyond History. Co-authored with Tom Hill. Vancouver Art Gallery, 1989.
Duffek, Karen. Lyle Wilson: When Worlds Collide. UBC Museum of Anthropology, Museum Note 28, 1989.
Duffek, Karen. Bob Boyer: A Blanket Statement. UBC Museum of Anthropology, Museum Note 23, 1988.
Duffek, Karen. “Book Review: Bill Reid by Doris Shadbolt.” BC Studies, No. 76, Winter 1987.
Duffek, Karen. “It’s Native: Where Do You Put It? A Northwest Coast Perspective.” In Native Studies Review, Vol. 3, No. 2, 1987.
Duffek, Karen. Totem and Potlatch. Craft International, July to September 1987.
Duffek, Karen. Bill Reid: Beyond the Essential Form. University of British Columbia Press and UBC Museum of Anthropology, Museum Note 19, 1986.
Duffek, Karen. New Visions: Serigraphs by Susan A. Point, Coast Salish Artist. UBC Museum of Anthropology, Museum Note 15, 1986.
Duffek, Karen. A Guide to Buying Contemporary Northwest Coast Indian Arts. UBC Museum of Anthropology, Museum Note 10, 1983.
Duffek, Karen. The Revival of Northwest Coast Indian Art. Vancouver: Art and Artists 1931-1983. Vancouver Art Gallery, 1983.
Duffek, Karen. “Helen Hardin.” In St. James Guide to Native North American Artists. Detroit, MI: St. James Press, 1998.
Duffek, Karen. “Emmi Whitehorse.” In St. James Guide to Native North American Artists. Detroit, MI: St. James Press, 1998.
Duffek, Karen. “Art, visual (to 1960).” In Encyclopedia of North American Indians. Boston, Mass .: Houghton Mifflin Company.
Duffek, Karen. “Reaching in and taking out: Native American Women Artists in a New Feminism.” In Women Art Educators III. C. Congdon and E. Zimmerman (Eds.), Reston, Virginia: National Art Education Association Press, 1993.
Dyck, Sandra. Body Language. Ottawa, ON: Carleton University.
Evans, Jerry and Myrtle Blandford. First: Aboriginal Artists Of Newfoundland And Labrador. St.John’s, LE: St. John’s Native Friendship Centre, 1996.
Farris, Phoebe, “The Syncretism of Native, African, and Latin American Women’s art: Visual Expressions of Feminism, The environment, spirituality, and Identity.” In (Un)making Race: Re-Making Soul: Transformative Aesthetics and the Practice of Freedom. A. Coton, Ed. Stony Brook, NY: State University of New York Press, 2004.
Feder, Norman. American Indian Art. Harry N. Abrams, 1995, 1971.
Feder, Norman. 200 Years of North American Indian Art. Praeger Publishers, 1972.
Ferguson, Russel, ed. Out There: Marginalization and Contemporary Cultures. MIT Press, 1990.
Fernadez, Melanie. The Deportment Of Indian Affairs (Theresa Marshall). Peterborongh, ON: A Space, 1995.
Fisher, Jean. “The Syncretic Turn: Cross-Cultural Practices In The Age Of Multiculturalism.” In New Histories, edited by Lisa Gangitan and Steven Nelson, 32-38. Boston: Institute of Contemporary Art, 1996.
Fortin, Claudette, Lance Belanger. Santo Domingo, Dominican Republic: Paiewonsky Gallery, 1988.
Furst, Peter. North American Indian Art. New York, NY: Rizzoli, 1982.
Fragnito, Skawennati Tricia. “Sex, God and the Urban Aboriginal.” Catalogue essay for Kent Monkman. Hull, Quebec: Indian Art Centre, August 2001.
Garner, Richard F. Bella Coola – Kwakiutl – Nootka – Salish: A Photographic History. New York, NY: National Museum of Man, 1972.
Garneau, David. Frank Shebageget: Quantification. Saskatoon, Saskatchewan: Tribe Inc, February 2003.
Gautsche, Nancy and Kiri Hardy. Kanata: Robert Houle’s Histories. Ottawa, ON: Carleton University Art Gallery, 1993.
Golden, Thelma. “Place, Considered.” In ART 21: Art in the Twenty First Century, edited by Robert Storr. New York: Abrams Books, 2001.
Gray, Viviane. Know Me, Know You: Jerry Evans. Hull, QC: Indian Art Centre (DIAND), 1999.
Gonyea, Ray and Rick Hill. Art Of The Seventh Generation: Iroquois Symbols On Canvas And Paper. NY: Roberson Center for the Arts and Sciences, 1986.
Grimes, John, Karen Kramer and Rick Hill. Gifts Of The Spirit: Works By Nineteenth – Century & Contemporary Native American Artists. Salem, MS: Peabody Essex Museum, 1996.
Hall, Judy, Leslie Tepper and Judy Thompson. Threads Of The Land: Clothing Traditions From Three Indigenous Cultures. Gatineau, QC: Canadian Museum of Civilization, 1994.
Hall, Stuart and Paul du Gay, eds. Questions of Cultural Identity. London: Sage Publications, 1996.
Hassett, Dawn. Arts Of The Salmon People. BC: Museum of Northern British Columbia, 1981.
Hawthorn, Audrey. Kwakiutl Art. Seattle: University of Washington Press, 1979.
Hayden, Kim. Ethnographic Industry: Kevin McKenzie. Gatineau, QC: Indian Art Centre (INAC), 2003.
Hill, Dayna M. Indian Art ’81. Brantford, ON: Woodland Cultural Centre, 1981.
Hill, Dayna M. Indian Art 1980. Brantford, ON: Woodland Cultural Centre, 1980.
Hill, Lynn. Full Moon New Moon: Ned Bear And Connie Watts. Gatineau, QC: Indian Art Centre (INAC), 2001.
Hill, Lynn. Raven’s Reprise. Vancouver, BC: UBC, Museum of Anthropology, 2000.
Hill, Richard. Skywalkers: A History Of Indian Ironworkers. Brantford, ON: Woodland Cultural Centre, 1987.
Hill, Rick and Truman Lowe, eds. Who Stole the Teepee? Tucson, Arizona: Atlatl Inc., 2002.
Hill, Tom and David General. Links To A Tradition. Ottawa, ON: DIAND, 1977.
Hill, Tom and Ann Pineault. Internal Recall. Brantford, ON: Woodland Cultural Centre and Erock University, 1994.
Hill, Tom. Indian Art ’88. Brantford, ON: Woodland Cultural Centre, 1989.
Hill, Tom. Indian Art ’89. Brantford, ON: Woodland Cultural Centre, 1989.
Hill, Tom. A Celebration of Contemporary Canadian Native Art. Brantford, ON: Woodland Indian Cultural Centre, 1987.
Hill, Tom. Indian Art ’84. Brantford, ON: Woodland Cultural Centre, 1984.
Hill, Tom. In The Spirit Of Sharing: The Best Of Our Collections. Brantford, ON: Woodland Indian Cultural Educational Centre, 1984.
Hill, Tom. School Days. Brantford, ON: Woodland Indian Cultural Educational Centre, 1984.
Hill, Tom. Indian Art ’83. Brantford, ON: Woodland Cultural Centre, 1983.
Hill, Tom. Transformation: The Art Of David General. Brantford, ON: Woodland Indian Cultural Educational Centre, 1983.
Hill, Tom. Patches: The Art Of Quilt Making On The Six Nations And New Credit Indian Reserves. Brantford, ON: Woodland Indian Cultural Educational Centre, 1983.
Hill, Tom. Indian Art ’82. Brantford, ON: Woodland Cultural Centre, 1982.
Hill, Tom. Contemporary Native Art Of Canada: Manitoulin Island. Toronto, ON: Royal Ontario Museum, 1978.
Hill, Tom. Ganohonyohk. New York: Art in General, 1999.
Ho, Rosa. Surrey Collects. Surrey, BC: Surrey Art Gallery, 1979.
Holm, Bill. The Box of Daylight: Northwest Coast Indian Art. Seattle: Seattle Art Museum; University of Washington Press, 1983.
Houle, Robert. Adjacent, Nonlinear – Hannah Claus And Bonnie Devine. Hull, Quebec: Indian Art Centre (INAC), 2004.
Hunt, Walter Bernard. American Indian Beadwork. New York: Collier Books; London: Collier Macmillan Publishers, 1971, C1951.
Ingberman, Jeanette, Jimmie Durham. New York, NY: Exit Art, 1989.
Jemison, G. Peter. Common Heritage: Contemporary Iroquois Artists. Queens, NY: The Queens County Art and Cultural Center, 1984.
Jemison, Peter G. and Richard W. Hill. Stan Hill: The Spirit Released – A Circle Complete. Cooperstown, NY: New York State Historical Association, 2001.
Jensen, Doreen. Imprints 12. High School Text Gage, 2002.
Jensen, Doreen. Journeys. Surrey, E.C., Surrey Art Gallery, 2002.
Jensen, Doreen. Uncommon Legacies: Native American Art From The Peabody Essex Museum. 2002.
Jensen, Doreen. Faces in the Forest, Foreword. McGill-Queens University Press, 2002.
Jensen, Doreen, ed. In Celebration of Our Survival. The First Nations of EC. UEC Press, Vancouver, BC, 1992.
Jensen, Doreen. Robes of Power: Totem Poles on Cloth. UBC Press, Vancouver, EC, 1988.
Jensen, Doreen. Networking: National Indian Artists Symposium. University of Lethbridge, 1987, Artropolis, Vancouver, B.C., 1987.
Johannsen, Christina B., John P. Ferguson, eds. Iroquois Arts: A Directory of a People and Their Work. Warnerville, NY: Association for the Advancement of Native North American Arts and Crafts, 1983.
Kasprycki, Sylvia and Doris Strambau, ed. Lifeworlds – Artscapes. Frankfurt, Germany: Galerie 37, Museum of World Cultures, 2003.
Kardosh, Robert. Works on Cloth: Imagery By Artists Of Baker Lake, Nunavut. Marion Scott, 2005.
King, J.C.H. Portrait Masks from the Northwest Coast of America. New York: Thames and Hudson, 1979.
Kingfisher, William. Kanata: Passport – Passeport (Greg Hill). Gatineau, QC: Indian Art Centre (INAC), 2002.
Kiva New, Lloyd and Rick Hill. American Indian Art In The 1980s. Buffalo, NY: Native American Center for the Living Arts, Inc., 1980.
Koch, Ronald P. Dress Clothing of the Plains Indians. Norman: University of Oklahoma Press, 1977.
Kwon, Miwon. One Place After Another: Site Specific Art and Locational Identity. MIT Press, 2002.
Lacayo, Jessie. “Frank Shebageget.” In Artichoke, No.3 Vol.15, pp.18-20. Winter 2003.
L’Hirondelle, Leanne. Rabbits on the Rez – New Works By: Linus Woods. Gatineau, QC: Indian Art Centre (INAC), 2003.
L’Hirondelle, Leanne. No X Plain Nation. Winnipeg, ME: The Winnipeg Art Gallery, 2002.
Lippard, Lucy R. Tango – Lance Belanger. Ottawa, ON: Ottawa Art Gallery, 1995.
Lippard, Lucy. The Lure of the Local. New York: The New Press, 1997.
Lippard, Lucy. “Esthetic Sovereignty, or, Going Places with Cultural Baggage.” In Path Ereakers, ed. Eiteljorg Museum of American Indian and Western Art, 1-10. Seattle: University of Washington Press, 2003.
Liss, David and Katia Meir. True North: The Landscape Tradition In Contemporary Canadian Art. Kaohsiung, Taiwan: Kaohsiung Museum of Fine Arts, 1998.
Lloyd New; David C. Young. One With The Earth. Santa Fe, NM: The Institute of American Indian Arts, 1976.
Loft, Steve. Sovereignty, Subjectivity and Social Action: The Films of Alanis Obomsawin. Governor Generals’ Awards in Media and Visual Arts, 2001 Catalogue.
Loft, Steve. “Here We Come a’Wassailing.” In What is Wassailing?… Exhibition Catalogue. Hamilton, Ontario: Art Gallery of Hamilton.
Loft, Steve. Between A Rock And …: The Polities of Presenting Aboriginal Media Art On-line Centre for Media Art (OISE).
Loft, Steve. Photophobia 3, Exhibition brochure. Hamilton, Ontario: Art Gallery of Hamilton.
Loft, Steve. “alt. shift. control,” In alt. shift. control: Musings on Digital Identity. Hamilton, Ontario: Art Gallery of Hamilton.
Loft, Steve and Dana Claxton, editors. Transference, Technology, Tradition. Banff, Alberta: Banff Centre Press, 2005.
Logan, Jim. HomeBoys – Alex Janvier and Alan Syliboy. Halifax, NS: Art Gallery of Nova Scotia, 2001.
Logan, Jim. Re-Claiming History. Halifax, NS: Art Gallery of Nova Scotia, 2000.
Madill, Shirley. Robert Houle: Indians From A To Z. Winnipeg, ME: Winnipeg Art Gallery, 1990-91.
Mainprize, Garrry. Stardusters. Thunder Bay, ON: Thunder Bay Art Gallery, 1986.
Martin, Lee Ann. The Polities of Inclusion and Exclusion: Contemporary Native Art and Public Art Museums in Canada. Ottawa: Canada Council, 1991.
Martin, Lee Ann. “Wordplay: Issues of Authority and Territory,” Making a Noise – A discussion of contemporary art, art history, critical writing and community from Aboriginal perspectives, ed. Lee-Ann Martin, Banff Centre Press, Banff, Alberta, 2005, pp. 102-107.
Martin, Lee Ann. In My Lifetime. Musee national des beaux-arts du Quebec, Quebec City, February 2005.
Martin, Lee Ann. Mapping Our Territories. Walter Phillips Gallery, Banff, Alberta, 2002.
Martin, Lee Ann. “An/Other One: Aboriginal Art Curators and Art Museums,” The Edge of Everything: Curating for the Future, ed. Catherine Thomas, Banff Centre Press, Banff, 2002, pp. 49-56.
Martin, Lee Ann. Sherry Farrell Racette: Illustrative Images. MacKenzie Art Gallery, Regina, 2002.
Martin, Lee Ann. “Negotiating Space for Aboriginal Art” in ‘On Aboriginal Representation in the Gallery’, ed. Lynda Jessup with Sharon Bagg, Canadian Museum of Civilization, Ottawa, 2002, pp. 239-246.
Martin, Lee Ann. “Edward Poitras: Being In His Own Time,” The Governor General’s Awards in Visual and Media Arts 2002, The Canada Council for the Arts, 2002.
Martin, Lee Ann. “Shelley Niro: Flying Woman,” After the Storm: The Eiteljorg Fellowship for Native American Fine Art, 2001, ed. W. Jackson Rushing II, Eiteljorg Museum, Indianapolis and University of Washington Press, Seattle, 2001.
Martin, Lee Ann and Bob Boyer. The Powwow: An Art History. MacKenzie Art Gallery, Regina, 2000.
Martin, Lee Ann. Studio Series: Sheila Orr. MacKenzie Art Gallery, Regina, 2000.
Martin, Lee Ann. Ted Goodden: Local Colour. MacKenzie Art Gallery, Regina, 1999.
Martin, Lee Ann. Marsha Kennedy: Stilled Lives. MacKenzie Art Gallery, Regina, 1999.
Martin, Lee Ann. WIGWAS: The Art of Birch Bark Biting. MacKenzie Art Gallery, Regina, 1999.
Martin, Lee Ann. Joanne Bristol: s.p.a.c.e.t.r.a.s.h.1.9.9.9. MacKenzie Art Gallery, Regina, 1999.
Martin, Lee Ann. Richard Kerr: The After Motion Picture Series. MacKenzie Art Gallery, Regina, 1998.
Martin, Lee Ann. “Shaping the Future of Aboriginal Curatorial Practice,” with Morgan Wood, Inuit Art Quarterly, Vol. 13, No. 2, Summer 1998, pp. 22-25.
Martin, Lee Ann. “First Nations Art at the Thunder Bay Art Gallery: A Commitment to Collecting”. Thunder Bay Art Gallery Permanent Collection Catalogue, Thunder Bay, 1996.
Martin, Lee Ann. “Indigenous Renewal = Reclamation + Redefinition + Reality = Identity” In 16 Songs/Issues of Personal Assessment and Indigenous Renewal, The University of North Texas Art Gallery, Denton, Texas, 1996.
Martin, Lee Ann. “Issues of Post-Coloniality”. Proceedings: Curatorship: Indigenous Perspectives in Post-Colonial Societies, May 1994. Canadian Museum of Civilization and the Commonwealth Association of Museums and the University of Victoria, 1996, pp. 26-28.
Martin, Lee Ann. “First Nations Activism Through the Arts”. Questions of Community: Artists, Audiences, Coalitions, Banff Centre Press, Banff, Alberta, 1995, pp. 77-90.
Martin, Lee Ann. “Morning Star”. Museums Review, The Journal of the Alberta Museums Association, Vol. 21, Issue 2, Summer 1995, pp. 65-66.
Martin, Lee Ann. “The Language of Place”. Wana-Na-Wang-Ong: Rebecca Belmore, Contemporary Art Gallery, Vancouver, British Columbia, 1994.
Martin, Lee Ann. “Life is Full of Contradictions: Reflection on ‘Reality'”. Mandate Study, 1990-93. An Investigation of Issues Surrounding the Exhibition, Collection and Interpretation of Contemporary Art by First Nation Artists. Thunder Bay Art Gallery, Thunder Bay, Ontario, 1994.
Martin, Lee Ann. Domingo Cisneros. SKY BONES. Mendel Art Gallery, Saskatoon, Saskatchewan, 1993.
Martin, Lee Ann. “The Burden of Authorship: Narratives of First Nations Artists within the context of INDIGENA”. THIRD TEXT, Winter 1992-93, pp. 83-94.
Martin, Lee Ann. “INDIGENA: Perspectives of Indigenous Peoples on Five Hundred Years”, with Gerald McMaster. American Indian Art Magazine, Vol. 17(4): 66-77, Autumn 1992.
Martin, Lee Ann. INDIGENA: Contemporary Native Perspectives. Editor with Gerald McMaster. Canadian Museum of Civilization, Hull, Quebec and Douglas & McIntyre, Vancouver, 199z.
Martin, Lee Ann. “SOLIDARITY: Art After Oka”, Curatorial Statement. SAW News IV(3), May/June l99l.
Martin, Lee Ann. The Politics of Inclusion and Exclusion: Contemporary Native Art and Canadian Art Museums. Report submitted to The Canada Council, Ottawa, Ontario, 1991.
Martin, Lee Ann. “The Contemporary Indian Art Collection at the Canadian Museum of Civilization”, with Gerald McMaster. American Indian Art Magazine 15(4):50-55, 1990.
Martin, Lee Ann. Curatorial Perspective, First Nations Art ’90, Woodland Cultural Centre Museum, Brantford, Ontario, 1990.
Martin, Lee Ann. Exhibition Review, “Decelebration”, with Gerald McMaster. Native Art Studies Association of Canada Newsletter, Vol. 3, No. 3, 1989. Reprinted in ARTSCRAFT 2(1):20-2l, Spring 1990.
Martin, Lee Ann. Raven’s Work: Northwest Coast Indian Art. The McMichael Canadian Art Collection, Kleinburg, Ontario, 1989.
Martin, Lee Ann. “Canadian Indian Art”. The McMichael Canadian Art Collection Catalogue, McGraw-Hill-Ryerson Press, Toronto, Ontario, 1989.
Martin, Lee Ann. Artists of the Dawn: Christine Nicholas and Senabeh. Northeast Folklore Society, University of Maine, Orono, Maine, 1987.
Martin, Lee Ann. “A Celebration of Native American Life and Art”, Explorations: A Research Journal of the University of Maine, Orono, Maine, Fall 1987.
Masse, Isabelle. Primordial Memories: Works By Jane Ash Poitras. Ottawa, Ontario: Galerie d’art Vincent, 2005.
Maskegon-Iskwew, Ahasiw. “waynohtew and the âpihtawikosisân Infiltration of Deep Structure.” In Caught in the Act: An Anthology of Performance Art by Canadian Women, Tanya Mars and Johanna Householder, eds., YYZ Books, Toronto 2005.
Maskegon-Iskwew, Ahasiw. “Mapping Homunculi at War: Aboriginal Performance Art Sneaks Up.” In Signified: Ritual Language in First Nations Performance Art, Regina, SK: Sakewewak Artists Collective, 2002.
Maskegon-Iskwew, Ahasiw. “Hysterical, Auto-cannibalist Culture versus Trans-temporal Interwoven Identities.” In The Multiple and Mutable Subject, Vera LaMecha and Reva Stone eds., Winnipeg, MB: St. Norbert Arts Centre, 2001.
Maskegon-Iskwew, Ahasiw. Front Line Art: Forum on Community Arts Report, Louise May and Gerry Atwell, eds., Winnipeg, ME: St. Norbert Arts and Cultural Centre, 1999.
Maskegon-Iskwew, Ahasiw. “Nêhiyawêwin and Virtual Reality.” In MIX: the magazine of artist-run culture (formerly Parallélograqmme), Winter 1995/96, p. 38.
Maskegon-Iskwew, Ahasiw. “The Mocassin Telegraph Goes High-Tech.” In Talking Stick First Nations Arts Magazine, Vol. 1, No. 2, Spring, 1994, p. 26.
Mattes, Cathy. Art-It-Fact II: Lionel Peyachew. Brandon, Manitoba: Art Gallery of Southwestern Manitoba, 2005.
Mattes, Cathy. The Best Man By: Riel Benn. Brandon, Manitoba: Art Gallery Of Southwestern Manitoba, 2004.
Mattes, Cathy. Without Reservation: Lita Fontaine. Winnipeg, MB: Winnipeg Art Gallery, 2002.
Mattes, Cathy. Heather Henry and Lionel Auburn Peyachew. Gatineau, QC: Indian Art Centre (INAC), 2001.
Maurer, Evan M. The Native American Heritage: A Survey of North American Indian Art. Chicago, IL: Arts Institute of Chicago, 1977.
Maybury-Lewis, David. Millennium: Tribal Wisdom and the Modern World. New York: Viking, 1992.
McDonald, Frederick R. Ancestral Portraits: The Colour Of My People. Alberta: 2002.
McLuhan, Elizabeth. Contemporary Native Art Of Canada – Silk Screens From The Triple K Co-operative, Red Lake, Ontario. Toronto, ON: Royal Ontario Museum, 1977.
McLuhan, Elizabeth. Last Camp First Song: Indian Art From The Royal Ontario Museum. Thunder Bay, ON: Thunder Bay Art Gallery, 1983.
McLuhan, Elizabeth. Weneebaykook; Seven Printmakers From James Bay. Thunder Bay ON: Thunder Bay Art Gallery, 1983.
McLuhan, Elizabeth. Renewal: Masterworks Of Contemporary Indian Art From The National Museum Of Man. Thunder Bay Art Gallery, 1982.
McLuhan, Elizabeth. Renegade: The Art Of Leo Yerxa. Thunder Bay, ON: Thunder Bay Art Gallery, 1984.
McLuhan, Elizabeth. Waabanda-Iwewin. Thunder Bay, ON: Thunder Bay Art Gallery, 1984.
McLuhan, Elizabeth. Altered Egos: The Multimedia Work Of Carl Beam. Thunder Bay, ON: Thunder Bay Art Gallery, 1984.
McLuhan, Elizabeth. Benjamin Chee Chee. Thunder Bay, ON: Thunder Bay Art Gallery, 1983 – 1984.
McLuhan, Elizabeth and Sheehan, Carol. The Eye Of The Dreamer: Heroes And Heroic Transformation In Northwest Coast Silkscreen Prints. Thunder Bay, ON: Thunder Bay Art Gallery, 1983.
McMaster, Gerald R. Challenges. De Meervaart, Ottawa, ON: National Museum of Man, 1985.
McMaster, Gerald. New Tribe: New York. National Museum of the American Indian. Washington, DC, 2005.
McMaster, Gerald. Venice Biennale. National Museum of the American Indian magazine, 2005.
McMaster, Gerald. Crow’s Shadow: Art and Community: Migrations project. Tamarind Institute, Albuquerque, New Mexico (forthcoming).
McMaster, Gerald. “Museums and the Native Voice.” Museums after Modernism. University of Leeds (forthcoming).
McMaster, Gerald. First American Art: The Charles and Valerie Diker Collection of American Indian Art. Eds. Bruce Bernstein and Gerald McMaster. Smithsonian National Museum of the American Indian in association with the University of Washington Press, 2004.
McMaster, Gerald. “Solitary Confinement.” Draw and Tell: Lines of Transformation by Norval Morrisseau/Copper Thunderbird. Drawing Center, New York, 2001.
McMaster, Gerald. “Rebuilding the Spirit.” Unbury My Heart: New Work by Shelley Niro. McMaster University Art Gallery, Hamilton, Ontario, 2001.
McMaster, Gerald. “Notes on a Plains Aesthetic.” Uncommon Legacies: Native American Art from the Peabody Essex. John R. Grimes, et al. Peabody Essex Museum. Essex, Mass, 2000.
McMaster, Gerald. “Rick Rivet.” IN The Eiteljorg Fellowship for Native American Fine Art. Indianapolis: Eiteljorg Museum of American Indians and Western Art, 1999.
McMaster, Gerald. “Jane Ash Poitras: An Indian in Paris.” In Osopikahikiwak: Jane Ash Poitras and Rick Rivet. Paris: Services culturels de l’Ambassade du Canada, 1999.
McMaster, Gerald. Reservation X: The Power of Place in Aboriginal Contemporary Art. Hull, Quebec: Canadian Museum of Civilization, Fredericton, Goose Lane, 1998.
McMaster, Gerald. “Museums and Galleries as Sites for Artistic Intervention.” In The Subjects of Art History: Historical Objects in Contemporary Perspectives. Eds. Mark A. Cheetham, Michael Ann Holly, and Keith Moxey. Oxford: Oxford University Press, 1998.
McMaster, Gerald. “A View of Things: Robert Houle/Don Hall.” In Ghostwriter. Toronto: Mercer Union, 1998.
McMaster, Gerald. “Mistatim: The Horse of My Memory.” In Heritage: The Magazine of the New York State Historical Association, 13(3-4):50-55, 1997.
McMaster, Gerald. “Towards An Aboriginal Art History.” In Native American Art. Ed. W. Jackson Rushing. London: Routledge, 1997.
McMaster, Gerald. “Responding to Everyday Life: An Interview with Joane Cardinal-Schubert.” In Joane Cardinal- Schubert Retrospective. Exhibition catalogue. Muttart Public Art Gallery, Calgary, Alberta, 1997.
McMaster, Gerald. “Encyclopedias of Experience: A Curatorial Dialogue on Drawing and Drawing Books.” In Plains Indian Drawings 1865-1935: Pages From A Visual History. Ed. Janet Catherine Berlo. New York: Harry N. Abrams, Inc. Publishers; New York: The American Federation of Arts; New York: The Drawing Center, 1996.
McMaster, Gerald. “The Subject of Displacement: A Response to the Judicial Decision Regarding What Constitutes a Work of Art that is Neither Canadian nor Indian Enough to be part of the said Collection.” FUSE Magazine, Spring, 1996.
McMaster, Gerald. Jeffery Thomas: Portraits from the Dancing Grounds. Exhibition catalogue. Ottawa: Ottawa Art Gallery, 1996.
McMaster, Gerald. Mary Longman: Traces. Exhibition catalogue. Kamloops, BC: Kamloops Art Gallery, 1996.
McMaster, Gerald. “Creating Spaces.” In Thinking About Exhibitions. Eds. Reesa Greenberg, Bruce W. Ferguson and Sandy Nairne. New York: Routledge, 1996.
McMaster, Gerald. Edward Poitras Canada XLVI Biennale di Venezia. Hull, Quebec: Canadian Museum of Civilization, 1995.
McMaster, Gerald. “Bering Strait Jacket.” In Teresa Marshall: The Deportment of Indian Affairs. Toronto: A Space Gallery, 1995.
McMaster, Gerald. “Object (to) Sanctity: The Politics of the Object.” In International Journal of Canadian Studies. 12 Fall: 11-29, 1995.
McMaster, Gerald. Beaded Radicals and Born-Again Pagans: Situating Artists Within the Field of Art. M.A. Thesis. Carleton University, 1994.
McMaster, Gerald. “I Feel at Home With My Ancestors: A Canadian Perspective.” American Visions: Artistic and Cultural Identity in the Western Hemisphere. Eds. Noreen Tomassi, Mary Jane Jacob and Ivo Mesquita. New York: American Council for the Arts and Allworth Press, 1994.
McMaster, Gerald. “Border Zones: The ‘Injun-uity’ of Aesthetic Tricks.” In Cultural Studies 9(1):74-90, 1994.
McMaster, Gerald. “Gerald McMaster: Discovering the levels of Meaning.” In All Roads Are Good: Native Voices on Life and Culture. Washington, D.C.: National Museum of the American Indian and Smithsonian Press, 1994.
McMaster, Gerald. “The Politics in Canadian Native Art.” In Mandate Study 1990-93: An Investigation of Issues Surrounding the Exhibition, Collection and Interpretation of Contemporary Art by First Nations Artists. Thunder Bay: Thunder Bay Art Gallery, 1992.
McMaster, Gerald. INDIGENA: Contemporary Native Perspectives. Edited with Lee-Ann Martin. Douglas & McIntyre: Vancouver, 1992.
McMaster, Gerald. “Re-Constructing the Cultural Community.” In Sharing the Circle, Saskatoon, Saskatchewan: Wanuskewin Centre, 1992.
McMaster, Gerald. “Colonial Alchemy: Reading the Boarding School Experience.” In Partial Recall: Photographs of Native North Americans. Ed. Lucy Lippard. New York: The New Press, 1992.
McMaster, Gerald. “Paint, Sculpt, Draw!” In ArtSource: Resource Guide to the Arts, Visual Arts in Canada: Painting.
McMaster, Gerald. Drawing and Sculpture. Ottawa: Secretary of State/Multiculturalism and Citizenship. 1992.
McMaster, Gerald. “Every day is Earth Day: A Native Artist’s Perspective.” In Le continent imprevu: Rencontres avec les Amerindiens. Paris: UNESCO, 1992.
McMaster, Gerald. Enduring Strength. Minneapolis: Intermedia Arts Minnesota and Two Rivers Gallery, 1992.
McMaster, Gerald. “How the West was Lost: An Artist’s Perspective.” In Gatherings: The Enowkin Journal of First North American Peoples, Volume II; European Review of Native American Studies, 5(2), pp. 15-18, 1991.
McMaster, Gerald. “He Kemo Sabe! Sais-tu qui est le ‘Grand Chief’?” In L’oeil Amerindien: Regards sur l’animal, Sous la Direction de Helene Dionne. Quebec: Musee de la Civilization, 1992.
McMaster, Gerald. “The Persistence of Land Claims.” In Robert Houle: Indians From A – Z. Ed. Shirley Madill. Winnipeg: Winnipeg Art Gallery, 1990.
McMaster, Gerald. “Our Home, BUT the Native’s Land: Problems of Representation.” In MUSE. Autumn, 1990.
McMaster, Gerald. “Identity Crisis: A Native Experience.” Unpublished essay on Gregory Stevens, 1990.
McMaster, Gerald. “More than Beads and Feathers.” In The Saskatchewan Indian, 1988.
McMaster, Gerald. “Schwache Bande zur Vergangenheit: Indianisches Kunsthandwerk in der Reservationszeit.” In Im Schatten der Sonne: ZeitgenATssische Kunst der Indianer und Eskimos in Kanada. Ed. Gerhard Hoffmann. Stuttgart: Edition Cantz; Hull: Canadian Museum of Civilization, 1989.
McMaster, Gerald. CHALLENGES. Amsterdam: de Meervaart Cultural Centre, 1985.
McMaster, Gerald. “Alex Janvier, Sarain Stump, Willie Seaweed, and Mungo Martin.” In The New Canadian Encyclopedia. Edmonton: Hurtig, 1984.
McMaster, Gerald. “A Wearable Art Form: 19th Century Robe Paintings.” In Canadian Home Economics Journal. Edmonton, Summer issue, 1983.
Meier, Rhonda et al. Nadia Myre Cont[r[act. Montreal, QC: Oboro Gallery, 2003.
Mera, H. P. Pueblo Designs: 176 Illustrations of the “Rain Bird.” New York: Dover Publications, 1970, C1938.
Milrod, Linda. Wana-Na-Wang-Ong (Belmore, Rebecca). Vancouver, BC: Contemporary Art Gallery, 1994.
Mitten, Brenda and Yvonne Maracle. Visions: From Contemporary Native Photographers. Hamilton, ON: Native Indian/Inuit Photographers Association, 1985.
Monthan, Guy. Art and Indian Individualists: The Art of Seventeen Contemporary Southwestern Artists and Craftsmen. Flagstaff, AZ: Northland Press, 1975.
Morgan, Judith P. Git Skee’een Niidiit People Of The Skeena River: Gitksan History in Art. BC, 2004.
Morgan, Judith P. Celebration: Paintings And History By Judith P. Morgan. British Columbia, 1999.
Morrow, Mable. Indian Rawhide: An American Folk Art. Norman: University of Oklahoma Press, 1975.
Nasby, Judith. Asingit – The Others. Guelph, ON: Macdonald Stewart Art Centre, University of Guelph, 2002.
National Museum of the American Indian. Native American Expressive Culture. Akwe:kon Press, Akwekon Journal vol. xi, nos.3 and 4, Cornell University Fall / Winter 1994.
Nemiroff, Diana, Robert Houle and Charlotte Townsend-Gault. Land Spirit Power. Ottawa, ON: National Gallery of Canada, 1992.
Nicolson, Marianne. A Return To The House In Winter: Marianne Nicolson. Gatineau, QC: Indian Art Centre (INAC), 2001.
Nisga’a Tribal Council. Bringing Our Ancestors Home – The Repatriation Of Nisga’a Artifacts. Nisga’a, BC, 1999.
North American Indian Traveling College. Traditional Teachings. Cornwall, Ontario: North American Indian Traveling College, 1984.
Norton, Derek. Fusion: Tradition And Discovery. Vancouver, BC: Spirit Wrestler Gallery, 1999.
O’Neill, Mora Dianne. Family Quest Strength: Alan Syliboy. Dartmouth, NS: Red Crane Enterprises Dartmouth, Heritage Museum, 1992.
Pakasaar, Helga et al. Revisions. Banff, AB: Walter Phillips Gallery, 1992.
Pare, Sylvie. The Covenant Chain / La Chaine D’alliance: Sylvie Pare. Gatineau, QC: Indian Art Centre (INAC), 2000.
Phillips, Carol A. New Work By A New Generation. Regina, SK: Norman Mackenzie Art Gallery, 1982.
Pinder, Kymberly N. ed. Race-ing Art History. New York: Routledge, 2002.
Podedworny, Carol. First Nations Art ’92. Brantford, ON: Woodland Cultural Centre, 1992.
Podedworny, Carol. The New Traditionalists. Thunder Bay, ON: Thunder Bay Art Gallery, 1988.
Podedworny, Carol. To Catch A Vision. Thunder Bay, ON: Thunder Bay Art Gallery, 1987.
Podedworny, Carol. Ahneesheenahpay Still Live. Thunder Bay, ON: Thunder Bay Art Centre, 1987.
Podedworny, Carol. Debosegai: Blake Debassige. Thunder Bay, ON: Thunder Bay Art Gallery, 1985.
Podedworny, Carol. Arthur Shilling. Thunder Bay, ON: Thunder Bay Art Gallery, 1986.
Podedworny, Carol and Jack Pollock, Rya Levitt. New Growth From Ancestral Roots. Toronto, ON: Koffler Gallery, 1983.
Rice, Ryan. Roads to Homage (Dolan Badger and John Powell). Gatineau, QC: Indian Art Centre (INAC), 2001.
Rice, Ryan. Home Made. Ottawa, Ontario: Gallery 101, 2002.
Rice, Ryan. “Look Both Ways” In For The Arts Newsletter, ed. Canada Council for the Arts, Ottawa, Ontario, 2002.
Rice, Ryan. “Heart of Matters: New Works By Shelley Niro,” UCLA Davis, California: Gorman Gallery, 2005.
Rice, Ryan. “Shelley Niro: Matriarch Matters” In Continuum 12 Artist Series, New York, NY: Smithsonian National Museum of American Indian, 2004.
Rice, Ryan. FLOCK. M.A. Thesis, Center for Curatorial Studies, Bard College, NY, 2004.
Rice, Ryan. “The Road Well Traveled” In Lifeworlds – Artscapes – Contemporary Iroquois Art, Frankfurt, Germany: Museum der Weltkulturen, 2003.
Rice, Ryan. Home Project, Ed. Patti Young Kim, 106 press Halifax, Nova Scotia, 2002.
Rice, Ryan. “Swift Currents”, The Hub: New Work By Eric Robertson, Indian Art Centre, Indian and Northern Affairs Canada, 2001.
Rice, Ryan. “Collecting Ourselves,” In Perpetual Bundle: Selected Works from the Indian Art Collection of Indian and Northern Affairs Canada, INAC, 2000 (unpublished).
Rice, Ryan. “Somewhere,” Urban Migration: Works by Jason Baerg, Indian Art Centre, Indian and Northern Affairs Canada, 2000.
Rice, Ryan. “Maintaining a Balance: Works By Tracey Anthony,” Anatomy of a Searching Soul, Indian Art Centre, Indian and Northern Affairs Canada.
Rice, Ryan. “Girl Power,” Longing and Not Belonging: Rosalie Favell, Indian Art Centre, Indian and Northern Affairs Canada, 1999.
Rice, Ryan. “Becoming Identified,” De-colonizing the Archival Photograph: George Littlechild, Indian Art Centre, Indian and Northern Affairs Canada, 1999.
Rice, Ryan. “David General: At A Glance … ,” Rear View Mirror: David General, Indian Art Centre, Indian and Northern Affairs Canada, 1998.
Richmond, Cindy. Ruth Cuthand: Artists With Their Work. Regina, SK: Mackenzie Art Gallery, 1990.
Ringlero, Aleta M. Only Skin Deep: Changing Visions of the American Self. Abrams, 2003.
Robertson, Carmen. Other Space: 6 Degrees of Exploration. Regina, SK: Rosemont Art Gallery, 2003.
Robinson, Donald C. Norval Morrisseau: Honouring First Nations. Toronto, ON: Kinsman Robinson Gallery, 1994.
Robinson, Paul C.H. Norval Morrisseau: The Spirit Within. Toronto, ON: Kinsman Robinson Gallery, 1992.
Roberge, Gaston. Rita Letendre: Woman of Light. Laval, QC: Belle Publisher, 1997.
Roosevelt, Anna Curtenius and James GE Sivith. The Ancestors: Native Artisans of The Americas. New York, NY: Museum of the American Indian, 1979.
Rushing, W. Jackson, ed. Native American Art in the Twentieth Century. New York: Rutledge, 1999.
Ryan, Allan J. “I Enjoy Being A Mohawk Girl: The Cool and Comic Character of Shelley Niro’s Photography” In American Indian Art No. 1 Vol. 20 (Winter 1994), pp. 44.
Ryan, Allan J. The Classical Aboriginal Series: Jim Logan. Whitehorse, YK: Yukon Arts Centre, 1994.
Schaafsma, Polly. Indian Rock Art of the Southwest. Santa Fe, NM: School of American Research, 1980.
Seton, Julia M. American Indian Arts, a Way of Life. New York: Ronald Press Co., 1962.
Shebageget, Frank. “Thought Patterns: Hannah Claus.” Ottawa, Ontario: Gallery 101, 2002.
Shebageget, Frank. “Riding Lines: Nadia Myre.” Hull, Quebec: Indian Art Center (DIAND), January 2001.
Simpson, Audra. Renewal: Greg Staats. Gatineau, QC: Indian Art Centre (INAC), 2000.
Simpson, Audra. “The Empire Laughs Back: Tradition, Power, and Play in the Works of Shelley Niro and Ryan Rice.” In Iroquois Art: Visual Expressions of Contemporary Native American Artists, ed. Sylvia Kasprycki and Doris Strambau, Frankfurt, Germany: European Review of Native American Studies, University of Washington Press, 1998.
Stambrau, Doris and Sylvia Kasprycki. Iroquois – Irokesen Art: Visual Expressions Of Contemporary Native American Artists. Frankfurt, Germany: University of Washington Press, 1998.
Steward, Hilary. Indian Artifacts of the Northwest Coast. Seattle: University of Washington Press, 1975.
Swiss Institute. Red River Crossings. New York: Swiss Institute, 1996.
Sweet, Jill D. with Ian Berry. Staging The Indian: the Politics of Representation. Syracuse, New York: The Tang Teaching Museum and Art Gallery, Skidmore College, 2002.
Tan, Bridget Tracy. Inspirit Crossing: The Making of First Nations and Inuit Art. Singapore, Japan: Singapore Art Museum, 2000.
Tanner, Clara Lee. Southwest Indian Craft Arts. Tucson: University of Arizona Press, 1968.
Tétreault, Pierre-Leon. Rencontre Du Nouveau-Monde – Volet Art Amérindien Contemporain. Montreal, QC: Ville de Montréal, 1992.
Thom, Ian and Nancy Kirkpatrick. Beyond History. Vancouver, BC: Vancouver Art Gallery, 1989.
Thomas, Catherine. The Edge of Everything: Reflections on Curatorial Practice. Banff, Alberta: Banff Center Press, 2003.
Thomas, Jeff. Out of Cold Storage. In Progress (2005-).
Thomas, Jeff. “Scouting for Indians.” Public Number 29 Localities, 2004.
Thomas, Jeff. “Jeff Thomas: A Study of Indian-ness.” Toronto, Ontario: Gallery 44, 2004.
Thomas, Jeff. “Articulating the Vanishing Indian.” FUSE Magazine 25, no. 4, 2002.
Thomas, Jeff. “Making the Invisible Visible.” MIX 28, no. 1, Summer 2002.
Thomas, Jeff. “Luminance – Aboriginal Photographic Portraits.” Archivist, no. 112, 1996.
Thomas, Jeff. Pride and Dignity Returning the Gaze Edward Curtis. Ottawa, ON: INAC and National Archives of Canada, 2000.
Thomas, Rodney. Cross Fire: New Works by David Hannan. Gatineau, QC: Indian Art Centre (INAC), 2000.
Tiger, Peggy and Molly Babcock. The Life and Art of Jerome Tiger: War to Peace, Death to Life. Norman, OK: University of Oklahoma Press, 1980.
Touchette, Charlene. NDN Art: Contemporary Native American Art. Santa Fe, NM: Clear Light Books, 2004.
Trevelyan, Amelia and Henry, Victoria. Why Do You Call Us Indians?. Gettysburg College and Guilford Native American Art Gallery, 1990.
Tucker, Marcia. “Who’s On First?” in Different Voices, 9-16. New York: Association of Art Museum Directors, 1992.
Valskakis, Gail Guthrie. Indian Country: Essays on Contemporary Native Culture. ON: Wilfred Laurier Press, 2005.
Valskakis, Gail Guthrie. “Blood Borders: Being Indian and Belonging.” In Without Guarantees: In Honour of Stuart Hall, ed. Stuart Hall, Paul Gilroy, Lawrence Grossberg and Angela McRobbie. New York: Verso, 2000.
Vickers, Roy Henry and Dave Bouchard. The Elders Are Watching. Eagle Dancer Enterprises Ltd, 1990.
Vogel, M.L. Vanessa. Spirits Speaking Through: Native American Art And Artists. NY: Emerson Gallery, Hamilton College, 1994.
Walker Art Center. American Indian Art: Form and Tradition. New York: Dutton, 1972.
Wallis, Brian, ed. Art Matters: How the Culture Wars Changed America. New York: NYU Press, 1998.
Walsh, Andrea. Lichen. Toronto, Ontario: Toronto Sculpture Garden, October 1998.
Washburn, Dorothy K., Robert Sayers, eds. The Elkus Collection: Southwestern Indian Art. San Francisco: California Academy of Sciences; Seattle: Distributed by the University of Washington Press, 1984.
Wiginton, Colin. Dancing Through Time – Zhiibaayaa-Niimidwin. Barrie, ON: MacLaren Art Centre, 2005.
Young, Shelagh Tamplin. Carl Beam: The Columbus Project Phase 1. Artspace and Art Gallery of Peterborough, 1989.
Young Man, Alfred. North American Indian Art: It’s A Question Of Integrity. BC, 1998.
MISCELLANEOUS
American Indian Art: Form and Tradition. Walker Art Center, 1972.
Art of the First Americans. Cincinnati Art Museum, 1976.
Celebrating Life: The Art Of Allen Sapp. Toronto, ON: Hollander York Gallery, 2000.
Cycle of Life – Jane Ash Poitras. Ottawa, ON: Galerie d’Art Vincent, 2002.
George Littlechild. Galerie van de Loo, 1991.
Indian Art ’75. Brantford, ON: Woodland Indian Cultural Educational Centre, 1975.
Indian Inuit Pottery ’73. Ottawa, ON: INAC, 1973.
Santa Fe, NM: School of American Research, 1931.
Skijin Ao Waja: Indian Time: Contemporary Indian Art. Kunsthallen Brandts, 1994.
The Submoluc Show / Columbus wohs: A Visual Commentary on Columbus Quincentenial From The Perspective of America’s First People. Phoenix, AZ: Atlatl, 1992.
Unique Among Nations. Minister of Supply and Services Canada, Ottawa, 1993.
INUIT ART
Lalonde, Christine; Ribkoff, Natalie. Itukiagatta – Inuit Sculpture From The Collection Of The TD Bank Financial Group. National Gallery of Canada; TB Bank Financial Group, 2005.
Canada, Inuit Art Bibliography. Ottawa, ON: Indian and Northern Affairs, 1992.
Crandall, Richard C. and Susan. An Annotated Bibliography of Inuit Art. Jefferson, North Carolina, 2001.
Hessel, Ingo. Inuit Art: An Introduction. Harry N. Abrams, 1998.
Ray, Dorothy Jean. Aleut and Eskimo Art: Tradition and Innovation in South Alaska. Seattle: University of Washington Press, 1981.
Ray, Dorothy Jean. Aleut and Eskimo Art: Tradition and Innovation in North Alaska. Seattle: Published for the Henry Art Gallery by the University of Washington Press, 1977.
Ritchie, Carson I. A. Art of the Eskimo. South Brunswick, NJ: Barnes, 1979.
PERIODICALS
American Indian Art. (Magazine) American Indian Art, Inc., 1968
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