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Shelley Niro is widely known for her ability to explode myths, transgress boundaries and embody the ethos of her matriarchal culture in a wide variety of mediums including photography, installation, film and painting. Niro creates photographic series that emphasize the medium?s inherent capacity for narrative and representation. She pushes the limits of photography by incorporating Mohawk imagery, re-appropriating traditional stories such as Skywoman and The Peacemaker, and by focusing on contemporary subjects with wit, irony and campy humor. Niro marries portraiture, performance art and satire by having her subjects and herself perform for the camera in ways that gently invite audiences to rethink their beliefs and preconceptions about indigenous peoples and themselves. With compassion and deep insight, Niro opens up the fault lines and desires of gender, sexuality and culture to create images of freedom from the status quo in representation. Photography was a medium that helped subjugate indigenous peoples, but in Niro?s revolutionary hands it empowers

George Littlechild: The Spirit Giggles Within is a stunning retrospective of a career that has spanned nearly four decades. Featuring more than 150 of the Plains Cree artist's mixed-media works, this sumptuous collection showcases the bold swaths of colour and subtle textures of Littlechild's work. Littlechild has never shied away from political or social themes. His paintings blaze with strong emotions ranging from anger to compassion, humour to spiritualism. Fully embracing his Plains Cree heritage, he combines traditional Cree elements like horses and transformative or iconic creatures with his own family and personal symbols in a unique approach. George Littlechild: The Spirit Giggles Within shows the evolution of an artist from his earliest works to the present day, including hints of future directions and themes. An insightful foreword by artist and curator Ryan Rice, a Mohawk from the Kahnawake First Nation in Quebec, and Littlechild's reflections on each piece build a broad understanding of Littlechild's work, his life and his views on the role of art within all cultures

Eight artists from across Canada create works identify varying forms of nationhood that either serve or detract from the concept of a national accord. Each artist explores the idea of ₃anthem₄ through a wide-angle lens, broadening the national discourse to include not only colonial histories, but also distinctive and multicultural liberties that take various forms: treaties, blood, languages, sexual orientation, faith, and oral traditions. The dynamic range of art works exhibited contribute to a more inclusive national narrative and expose and accept the diverse forms of nationalism that exist across the country.

Catalogue d'exposition avec des textes de Ryan Rice, Françoise Charron, Emily Falvey et Hilda Nicholae.

Catalogue d'exposition avec des textes de Ryan Rice; Jason Baerg; Lori Blondeau; Martin Loft; Cathy Mattes; Nadia Myre; Ariel Lightningchild Smith.

Les années 1990 sont une décennie cruciale pour l'avancement et le positionnement de l'art et de l'autonomie autochtones dans les récits dominants des états ayant subi la colonisation. Cet article reprend l'exposé des faits de cette période avec des détails fort nécessaires. Pensé comme une historiographie, il propose d'explorer chronologiquement comment les conservateurs et les artistes autochtones, et leurs alliés, ont répondu et réagi à des moments clés des mesures coloniales et les interventions qu'ellesontsuscitéesdu point de vue politique, artistique, muséologique et du commissariat d'expositions. À la lumière du 150e anniversaire de la Confédération canadienne, et quinze ans après la présentation de la communication originale au colloque, Mondialisation et postcolonialisme: Définitions de la culture visuelle v, du Musée d'art contemporain de Montréal, il reste urgent de faire une analyse critique des préoccupations contemporaines plus vastes, relatives à la mise en contexte et à la réconciliation de l'histoire de l'art autochtone sous-représentée.

Western art history long refused to recognize the historicity of Indigenous art, seeing it instead as a "primitive" mode of human expression. While the dynamism of Indigenous creation since the 1960s has made such an assertion impossible, the institutional recognition given contemporary Indigenous art in the art world is paradoxically accompanied by a lack of critical and theoretical analysis. Today, there is a genuine ignorance concerning Indigenous conceptions of history-their "regime of historicity"-on the part of Western art historians. This is all the more surprising given the recent "temporal turn" taken by the discipline, which emphasizes the question of mixed temporalities without acknowledging it as an essential dimension of Indigenous art. This paper revisits Western art history's long-standing denial of the historicity of Indigenous art, and then considers its current disregard for the ways Indigenous art allows different forms of temporality to coexist. The underlying thesis of the essay is that today's disinterest is, in fact, a prolongation of yesterday's denial.

Le territoire constitue une force déterminante dans la création artistique. Les prairies austères, notamment, exigent des artistes actuels comme de ceux qui les ont précédés une adaptation constante, déterminée par l'accès aux ressources et la nécessité de mobilité. Cet article s'intéresse à l'impact du territoire sur la pratique du perlage telle qu'exercée par les femmes autochtones. Il met en relation des exemples de perlage traditionnel conservés dans les collections muséales de la Saskatchewan avec les œuvres de trois artistes contemporaines autochtones des plaines, soit Ruth Cuthand, Judy Anderson et Katherine Boyer. La comparaison vise à mieux comprendre le processus intergénérationnel de transmission des pratiques ancestrales et ainsi révéler comment s'exprime le territoire dans les objets et œuvres ornés de perles, qui contribuent à façonner le récit des plaines.

While sharing fundamental similarities with other colonial and post-colonial experiences, Latin America has a unique history of having been the proving ground for early Spanish and Portuguese imperial projects, of having experienced a relatively long duration of – but also historically early end to – these projects, and of negotiating a particular and complex trajectory of internal and external post-colonial relations. What can the study of this distinct colonial and post-colonial experience contribute to a broader program of postcolonial sociology? Conversely, what can a revitalized postcolonial sociology contribute to the study of Latin America? This article develops provisional answers to these questions by reviewing major currents in South and North American scholarship on the Latin American colonial and post-colonial experience. Some of this scholarship self-consciously identifies with broader movements in postcolonial studies; but much of it – both historical and contemporary – does not. By bringing together diverse strands of thought, this article sheds new light on what postcolonialism means in the Latin American context, while using the comparative leverage that this set of often overlooked cases provides to contribute to a new program of postcolonial sociology.

This comprehensive anthology places issues of racial representation squarely on the canvas. Within these pages are representations of Nubians in ancient art, the great tradition of Westernmasters such as Manet and Picasso and contemporary work by lesser known artists.

"Through innovative and critical research, this anthology inquires and challenges issues of race and positionality, empirical sciences, colonial education models, and indigenous knowledges. Chapter authors from diverse backgrounds present empirical explorations that examine how decolonial work and Indigenous knowledges disrupt, problematize, challenge, and transform ongoing colonial oppression and colonial paradigm. This book utilizes provocative and critical research that takes up issues of race, the shortfalls of empirical sciences, colonial education models, and the need for a resurgence in Indigenous knowledges to usher in a new public sphere. This book is a testament of hope that places decolonization at the heart of our human community." -- Prové de l'editor.

"Art of the Northwest Coast is a comprehensive survey of the Native arts of the Pacific Northwest Coast, spanning the region from Puget Sound to Alaska, and proceeding from prehistoric times to the present. Incorporating the region's social history with the observations of anthropologists, historians of art, and Native peoples, this rich, vibrant book reveals how a complex web of factors informed these groups' varied responses to the changes and challenges brought about by contact with Europeans."-

Tourist art production is a global phenomenon and is increasingly recognized as an important and authentic expression of indigenous visual traditions. These thoughtful, engaging essays provide a comparative perspective on the history, character, and impact of tourist art in colonized societies in three areas of the world: Africa, Oceania, and North America. Ranging broadly historically and geographically, Unpacking Culture is the first collection to bring together substantial case studies on this topic from around the world.

This article begins with an analysis of the problems of ‘physical repatriation’, as I review the case of the return of a First Nations mask to its community of origin. First Nations struggle to fit their concepts of ownership into western ones, where objects are viewed as alienable. As an alternative, the art of John Powell and Marianne Nicolson depicts a ‘figurative repatriation’ that does not rely on either the courts or museums to recognize legal or moral ownership. I argue that these contemporary artworks are social agents, which bring First Nations cultural objects home by staking out territory within museums. These ‘artist warriors’ forcibly recover (both literally and metaphorically) First Nations objects on display in foreign settings and reinscribe meaning at the level of the personal and the communal. They make objectified assertions of native identity that reclaim the right to self-definition. Moreover, these claims are made all the more powerful through their conscious location within an oppositional discourse framed by the Canadian western art world.

This remarkable volume, many years in the making, records and scrutinizes definitions of Northwest Coast Native art and its boundaries. A work of critical historiography, it makes accessible for the first time in one place a broad selection of more than 250 years of writing on Northwest Coast "art." Organized thematically, its excerpted texts are from both published and unpublished sources, some not previously available in English. They cover such complex topics as the clash between oral and written knowledge, transcultural entanglement, the influence of surrealist thinking, and the long history of the deployment of Northwest Coast Native art for nationalist purposes. The selections are preceded by thought-provoking introductions that give historical context to the diverse intellectual traditions that have influenced, stimulated, and opposed each othe

"This edited collection focuses on "unsettling" Northwest Coast art studies, bringing forward voices that uphold Indigenous priorities, engage with past and ongoing effects of settler colonialism, and advocate for practices for more accountable scholarship. Featuring authors with a variety of perspectives, backgrounds, and methodologies, Unsettling Art Histories offers new insights for the field of Northwest Coast art studies. Key themes include discussions of cultural heritage protections and long-standing defenses of natural resources and territory; re-centering women and the critical role they play in transmitting cultural knowledge across generations through materials, techniques, and creations; reflecting on the decolonization work being undertaken in museums; and examining how artworks function beyond previous scholarly framings as living documents carrying information critical to today's inquiries. Re-examining previous scholarship and questioning current institutional practices by prioritizing information gathered in Native communities, the essays in this volume exemplify various methods of "unsettling" and demonstrate how new methods of research have reshaped scholarship and museum practices."

Killing the Indian Maiden examines the fascinating and often disturbing portrayal of Native American women in film. M. Elise Marubbio examines the sacrificial role in which a young Native woman allies herself with a white male hero and dies as a result of that choice. In studying thirty-four Hollywood films from the silent period to the present, she draws upon theories of colonization, gender, race, and film studies to ground her analysis in broader historical and sociopolitical context and to help answer the question, "What does it mean to be an American?"

The film industry and mainstream popular culture are notorious for promoting stereotypical images of Native Americans: the noble and ignoble savage, the pronoun-challenged sidekick, the ruthless warrior, the female drudge, the princess, the sexualized maiden, the drunk, and others. Over the years, Indigenous filmmakers have both challenged these representations and moved past them, offering their own distinct forms of cinematic expression. Native Americans on Film draws inspiration from the Indigenous film movement, bringing filmmakers into an intertextual conversation with academic