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This essay considers the intersectionality between the field of art history focused on the subject category of Native American or Indigenous art and Indigenous Studies. Methodological gaps in the field of art history are discussed through the canonical genre of landscape art with a comparative reference to key exhibitions; Land Spirit Power: First Nations at the National Gallery of Canada, (1992), The West As America: Reinterpreting Images of the Frontier, 1820-1920, (1991), Submuloc Show/Columbus Wohs (1992), Our Land/Ourselves: Contemporary Native American Landscape (1991) and Picturing the Americas: Landscape Painting from Tierra del Fuego to the Artic (2015). The aestheticization of the colonization of the Americas as represented in the genre of landscape art is interrogated as a form of historical violence that needs to be decolonized within the field of art history.

Résumé livre : 4e de couv.: Les mutations qui se sont amorcées à partir de la fin de la Seconde Guerre mondiale et qui connaissent une accélération rapide avec les crises sociales, culturelles, économiques et environnementales contemporaines ont transformé le paysage muséal et les visions dont les musées se soutiennent et qu'ils entretiennent. La plupart des travaux produits au cours de ces années ont été portés par ces transformations et y contribuent : la recherche en muséologie s'est elle-même dissociée de la recherche dans les musées dans les années 1980. De plus, quelque chose s'est noué entre un tournant communicationnel dans les musées et un développement de la réflexion théorique et critique sur la communication. Dans une approche résolument pluridisciplinaire, cet ouvrage se propose d'analyser ces évolutions dans leurs dimensions institutionnelles, culturelles, communicationnelles, historiques, patrimoniales. Les perspectives réunies ici contribueront, sans aucun doute, à mettre au jour les mouvements de fond actuels, les tendances qui travaillent les institutions elles-mêmes, et le poids de ces changements dans la formulation des enjeux théoriques en muséologie.

"Art for a New Understanding, an exhibition from Crystal Bridges Museum of American Art that opened in October 2018, seeks to radically expand and reposition the narrative of American art since 1950 by charting a history of the development of contemporary Indigenous art from the United States and Canada, beginning when artists moved from more regionally-based conversations and practices to national and international contemporary art contexts. This accompanying book documents and expands on the histories and themes of this exciting exhibition. This fully illustrated volume includes essays by art historians and historians and reflections by the artists included in the collection. Also included are key contemporary writings--from the 1950s onward--by artists, scholars, and critics, investigating the themes of transculturalism and pan-Indian identity, traditional practices conducted in radically new ways, displacement, forced migration, shadow histories, the role of personal mythologies as a means to reimagine the future, and much more. As both a survey of the development of Indigenous art from the 1950s to the present and a consideration of Native artists within contemporary art more broadly, Art for a New Understanding expands the definition of American art and sets the tone for future considerations of the subject. It is an essential publication for any institution or individual with an interest in contemporary Native American art, and an invaluable resource in ongoing scholarly considerations of the American contemporary art landscape at large."

Anthropologists of the senses have long argued that cultures differ in their sensory registers. This groundbreaking volume applies this idea to material culture and the social practices that endow objects with meanings in both colonial and postcolonial relationships. It challenges the privileged position of the sense of vision in the analysis of material culture. Contributors argue that vision can only be understood in relation to the other senses. In this they present another challenge to the assumed western five-sense model, and show how our understanding of material culture in both historical and contemporary contexts might be reconfigured if we consider the role of smell, taste, touch and sound, as well as sight, in making meanings about objects.

Ruth Phillips argues that these practices are "indigenous" not only because they originate in Aboriginal activism but because they draw on a distinctively Canadian preference for compromise and tolerance for ambiguity. Phillips dissects seminal exhibitions of Indigenous art to show how changes in display, curatorial voice, and authority stem from broad social, economic, and political forces outside the museum and moves beyond Canadian institutions and practices to discuss historically interrelated developments and exhibitions in the United States, Britain, Australia, and elsewhere. Drawing on forty years of experience as an art historian, curator, exhibition critic, and museum director, she emphasizes the complex and situated nature of the problems that face museums, introducing new perspectives on controversial exhibitions and moments of contestation. A manifesto that calls on us to re-imagine the museum as a place to embrace global interconnectedness, Museum Pieces emphasizes the transformative power of museum controversy and analyses shifting ideas about art, authenticity, and power in the modern museum.

This volume makes available in English most of the essays written to accompany the Canadian Museum of Civilization's exhibition In the shadow of the sun. Not included from the original German publication are the exhibition catalogue section and the essays by Gisela Hoffmann, Bernadette Driscoll and Elizabeth McLuhan. However, Viviane Gray's article appears in this document for the first time. Complemented by images of contemporary Indian and Inuit art, the book provides an overview of the evolution of contemporary Canadian Native art. Regional styles as well as the styles of individual artists are discussed, and the various subjects, themes and techniques reflected in the works of art are examined

This book provides a glimpse of thirteenth-century life and death in a southern Ontario Iroquoian community. The renovation of a Toronto soccer field in 1997 resulted in the accidental discovery of an Iroquoian ossuary--a large pit containing the remains of at least 87 people. The pit was excavated and recorded, and the remains reburied in accordance with the wishes of the Six Nations Council of Oshweken. Scientific analyses of the bones resulted in a remarkably detailed demographic profile of the Moatfield people, along with indicators of their health and diet. The book reports these findings and includes a complete database of maps and profiles on an accompanying CD-ROM. Ronald F. Williamson is president of Archaeological Services Inc., Toronto. Susan Pfeiffer is professor of anthropology at the University of Toronto. Source: Publisher

Ce survol de l'art contemporain indigène, qui connut un succès retentissant dès son ouverture en novembre 2019, a été prolongé jusqu'au 4 octobre au Musée des beaux-arts du Canada. Àbadakone permet de découvrir des œuvres de plus de 70 artistes qui revendiquent leur appartenance à quelque 40 nations, ethnies et tribus de 16 pays, dont le Canada. Traitant des thèmes de la continuité, de l'activation et de l'interdépendance, Àbadakone explore la créativité, les préoccupations et la vitalité qui marquent l'art indigène de presque tous les continents. L'exposition est organisée par les conservateurs du Musée des beaux-arts du Canada Greg A. Hill, Christine Lalonde et Rachelle Dickenson, conseillés par les commissaires Candice Hopkins, Ariel Smith et Carla Taunton, ainsi que par une équipe d'experts du monde entier. .

Catalgoue d'exposition

Catlogue d'exposition avec plusieurs textes.

Cet article s'intéresse aux diverses compréhensions de la notion d'autochtonie qui peuvent être mises au jour par l'étude du travail de photographes autochtones en Amérique du Nord. Pour cela, nous étudions deux brochures d'expositions collectives de photographes autochtones : Contemporary Native American Photography (1984), et Steeling the Gaze. Portraits by Aboriginal Artists (2011)

This article offers a qualitative and quantitive analysis of the critical reception of two exhibitions, Sakahàn:International Indigenous Art (National Gallery of Canada, Ottawa 2013) and Beat Nation: Art, Hip-Hop and Aboriginial Culture (organised and circulated by the Vancouver Art Gallery, 2013-2014). The study treats articles which appeared between 2012 and 2015 in English and French visual-arts publications. The comparative analysis intends to highlight general trends, in order to identify challenges that contemporary Indigenous arts pose for art criticism. A review of the texts shows that all commentators, whether francophone or anglophone, indigenous or non-Indigenous, have welcomed these two exhibitions warmly. The discrepancy between the number of essays in French and those in English reflects the demographic weight of these two linguistic communities and the geographic distribution of First Nations in Canada. This will qualify, without denying, the hypothesis of Quebec's tardiness on the indigenous question. The authors largely recognize the necessity of initiating indigenization of the museum and emphasize the movement to internationalize contemporary indigenous art. Yet many commentators, particulary Indigenous people, dispute the efficacity of the concept of "strategic essentialism" put forward by the commissioners of the Sakahàn catalog. Despite both a real interest in these two major exhibitions and the quality of the commentary, in the end, for events of such a scale few texts have been published on the subject. The criteria for appreciation rooted in the institutional sociology of art endeavour to fully take into account the challenges posed by certain central aspects of the approach of several Indigenous creators, such as the intangible dimensions of their civic engagement, the dissolution of particular outside venues and the sisterhood of certain projects.

Catalogue d'exposition avec des textes de Loft, Igloliorte et Croft. Galerie d'art d'Ottawa.

Nunatsiavut, the Inuit region of Canada that achieved self-government in 2005, produces art that is distinct within the world of Canadian and circumpolar Inuit art. The world's most southerly population of Inuit, the coastal people of Nunatsiavut have always lived both above and below the tree line, and Inuit artists and craftspeople from "Nunatsiavut have had access to a diverse range of Arctic and Subarctic flora and fauna, from which they have produced a stunningly diverse range of work. Artists from the territory have traditionally used stone and woods for carving; fur, hide, and sealskin for wearable art; and saltwater seagrass for basketry, as well as wool, metal, cloth, beads, and paper. In recent decades, they have produced work in a variety of contemporary art media, including painting, drawing, printmaking, photography, video, and ceramics, while also working with traditional materials in new and unexpected ways. SakKijâjuk: Art and Craft from Nunatsiavut is the first major publication on the art of the Labrador Inuit. Designed to accompany a major touring exhibition organized by The Rooms Provincial Art Gallery of St. John's, the book will feature more than 80 reproductions of work by 45 different artists, profiles of the featured artists, and a major essay on the art of Nunatsiavut by Heather Igloliorte. SakKijâjuk - "to be visible" in the Nunatsiavut dialect of Inuktitut - provides an opportunity for readers, collectors, art historians, and art aficionados from the South and the North will come into intimate contact with the distinctive, innovative, and always breathtaking work of the contemporary Inuit artists and craftspeople of Nunatsiavut

"D'horizons et d'estuaires. Entre mémoires et créations autochtones est une collection d'essais réunissant les voix de 16 artistes, commissaires, historien·ne·s de l'art et travailleur·se·s culturel·le·s autochtones, tant francophones qu'anglophones, œuvrant dans les territoires que l'on nomme Québec. Faisant suite à des expositions, des performances, des résidences d'artistes et des discussions mises en place lors du Projet Tiohtià:ke (2017-2019) du Collectif des commissaires autochtones, ces textes honorent les relations et les affinités qui sont au cœur de ces pratiques en arts visuels. Quelle place occupe actuellement les créations visuelles autochtones dans la société québécoise? Comment les créateur·trice·s imaginent-iels le futur de leurs expressions culturelles? Par la diversité des points de vue et les enjeux soulevés par ces écrits, ce livre pose des questions cruciales sur l'avenir des arts autochtones et ouvre la porte à des dialogues longtemps attendus au Québec qui, nous l'espérons, permettront de créer de réels changements positifs. Il est maintenant temps de plonger dans ces imaginaires collectifs éblouissants et de nager dans les eaux ondulantes de ces mémoires résilientes. Le texte est accompagné de 28 photographies d'œuvres d'artistes autochtones."-- Fourni par l'éditeur