Otsego Institute For Native American Art History
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The Otsego Faculty Council began as the Otsego Institute Board in 1997, when the first Otsego Institute symposium was held. The name was changed in 2014 to reflect the more academic nature of council members’ involvement with the Institute. Council members are responsible for the overall direction of the Institute and conduct their meetings annually, in odd years at the biennial Otsego workshop and at various locations during the even-numbered years. Specific responsibilities of Council members include: identifying the theme of each symposium or workshop; identifying visiting scholars for the symposia and workshops; selecting participants; planning the symposium or workshop agenda; contributing to the Institute website; and reviewing contributions to the Alumni Review. Council members are leading scholars in the field of Native American art. In 2013, it was decided to include more junior scholars, particularly Indigenous ones, to involve them in the Institute as their careers develop. Currently, the sitting Council decides on new members.

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Eva Fognell
Curator; Eugene and Clare Thaw Collection of American Indian Art, Fenimore Art Museum, Cooperstown, NY
M.A. Museum Studies, Cooperstown Graduate Center, NY 
M.A. Communication for Development, Malmo University, Sweden. 

Eva has been curator and collections manager of the Eugene and Clare Thaw Collection of American Indian Art at the Fenimore Art Museum since 2002. She curates the museum's changing exhibitions drawn from the Thaw Collection and creates museum education programs for schools K-12 as well as for the general public. Eva also teaches classes in Native American art, Material Culture and Collections Management at the Cooperstown Graduate Center and she is the onsite coordinator for the Otsego Institute. 

Selected Publications:
2010    Art of the American Indians: The Thaw Collection. (traveling exhibit catalogue).
             Cooperstown NY: Fenimore Art Museum.
2013    Plain and Fancy: Native American Splint Baskets. (co-author with Naomi Spotz and Jonathan Holstein).
            Cooperstown NY:  Fenimore Art Museum 
2016    Art of the North American Indians: The Thaw Collection at the Fenimore Art Museum 2nd edition (catalogue               -          raisonne, co-editor with Alex Marr). Cooperstown NY; Fenimore Art Museum

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Sherry Farrell Racette
Associate Professor, Art History, Faculty of Media, Art and Performance, University of Regina
Ph.D., Interdisciplinary (Native Studies, Anthropology, History, University of Manitoba, 2004.
 
Farrell Racette (Algonquin/Metis/Irish) was born in Manitoba and is a member of Timiskaming First Nation in Quebec (unceded Algonquin territory). She has done extensive work in archives and museum collections with an emphasis on retrieving women’s voices and recovering aesthetic knowledge. Her principle areas of interest are Métis visual culture, Indigenous photography and traditional media in contemporary Indigenous art. Farrell Racette is also a curator, painter and textile artist. She has illustrated eight children's books, collaborating with some of Canada's most noted Indigenous authors. Beadwork is increasingly important to her artistic practice, creative research and pedagogy. 
 
Past positions
2009-2017     Departments of Native Studies & Women’s Studies, University of Manitoba
2006-2009    Department of Art History, Concordia University
2001-2006     Department of Indigenous Education, First Nations University of 
                        Canada
 
Select exhibitions (artist)
2018   Li Salay, Art Gallery of Alberta, Edmonton AB.  
2018   Revolutionaries and Ghosts: Memory, Witness and Justice in a Global 
            Canadian Context, MacKenzie Art Gallery, Regina SK.
2017   An Eloquence of Women (solo exhibition), Wanuskewin Heritage Centre. 
2016   Bead Speak, Slate Fine Art Gallery, Regina SK. 
2011   Soul Sister: Reimagining Kateri Tekakwitha, Museum of Contemporary 
            Native Arts, Santa Fe, NM.
 
Select exhibitions (curator)
2015   We Are Not Birds, Canadian Museum for Human Rights, Winnipeg MB.
2011   Resistance / Resilience: Metis Art, 1870–2011, Batoche National Historic Site (Batoche SK).
2010   Splash! IAIA 2010 BFA Exhibition, Museum of Contemporary Native Arts, 
            Santa Fe NM.
2009   Photoquai: 2nd Biennale des images du monde (Canadian Indigenous
            component (with Martha Langford), Quai Branly, Paris, France, 
Unmasking: Arthur Renwick, Adrian Stimson and Jeffrey Thomas (with Martha Langford), Canadian Cultural Centre, Paris,
 
Select publications
“‘Enclosing Some Snapshots’: James P. Brady, Photography and Political 
            Activism, Photographic Histories (Fall 2018). 
“Tuft Life: Stitching Sovereignty in Contemporary Indigenous Art”, Art 
            Journal (Spring 2017)  
“Pieces Left Along the Trail: Material Culture Histories and Indigenous Studies” 
            (with Crystal Migwans and Alan Corbiere), in Sources and Methods in 
            Indigenous Studies (Routledge, 2016). 
“Tawow: Canadian Indian Cultural Magazine (1970–1981),” Canadian Journal of 
            Art History, Special Edition: Network Print Culture36, no. 1 (2016).
“Returning Fire, Pointing the Canon:  Aboriginal Photography as Resistance,” in 
            The Cultural Work of Photography in Canada (Montreal QC: McGill-
            Queen’s Press, 2011).  
Cynthia Chavez, Sherry Farrell Racette (eds.) with Lara Evans, Art in Our Lives: 
            Native Women Artists in Dialogue (Santa Fe NM: SAR Press, 2010). 
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Aaron GlassAssociate Professor, Bard Graduate Center 
Research Associate, American Museum of Natural History 
PhD Anthropology, New York University, 2006
MA Anthropology, University of British Columbia, 1999

Glass specializes in First Nations art, material culture, media, and performance on the Northwest Coast, as well as the history of anthropology and museums. Themes recurring in his work include colonialism and Indigenous modernities, cultural brokerage and translation, the politics of intercultural exchange and display, discourses of tradition and heritage management, and cultural and intellectual property. Doctoral research, along with a companion film “In Search of the Hamat’sa” (2004), examined the ethnographic mediation and cultural history of the Kwakwaka’wakw “Cannibal Dance.” Glass recently worked with the U’mista Cultural Centre to document the large Kwakwaka’wakw collection at the Ethnological Museum Berlin in an innovative digital database, and to restore and present Edward Curtis’s 1914 silent feature film, “In the Land of the Head Hunters.” He is currently collaborating on an NEH-funded project to produce a critical, annotated edition—in both print and digital media—of Franz Boas’s seminal "1897 monograph" on Kwakwaka’wakw social and ceremonial organization.


Past Positions:
2008-2010     BGC/AMNH Fellow in Museum Anthropology,
2006-2008    Killam Postdoctoral Research Fellow, University of British Columbia, 

Selected Publications:
2015. “Indigenous Ontologies, Digital Futures: Plural Provenances and the
            Kwakwaka’wakw collection in Berlin and Beyond.” In Museum as
            Process: Translating Local and Global Knowledges
, edited by
            Raymond Silverman, 19-44. London: Routledge.
2014.   Return to the Land of the Head Hunters: Edward S. Curtis, the
           Kwakwaka’wakw, and the Making of Modern Cinema 
(co-edited
            with Brad Evans). Seattle: University of Washington Press. 
2010.   The Totem Pole: An Intercultural History (co-authored with Aldona
            Jonaitis). Seattle: University of Washington Press. 
2008.  “Crests on Cotton: ‘Souvenir’ T-shirts and the Materiality of Remembrance
             among the Kwakwaka’wakw of British Columbia.” Museum Anthropology 
             
31(1): 1-18. 
2006.  “From Cultural Salvage to Brokerage: The Mythologization of Mungo
              Martin and the Emergence of Northwest Coast Art.” Museum
              Anthropology 
29(1): 20-43. 

Selected Exhibitions:
2019.  The Story Box: Franz Boas, George Hunt, and the Making of Anthropology. 
            
New York: Bard Graduate Center, and Alert Bay, BC: U’mista Cultural Centre. 
2011.   Objects of Exchange: Social and Material Transformation on the Late
          Nineteenth-Century Northwest Coast
. New York: Bard Graduate Center:
           Decorative Arts, Design History, Material Culture (catalogue distributed
           by Yale University Press). 
1999.  “BOOK (writ large).” An exhibition of 35 Vancouver book artists. The
           Community Arts Council of Vancouver, BC: Sept. 29 - Oct. 30. 
1998.  “Cabinets of Curiosity (and other oddities).” An exhibition of mixed-media
           sculpture. The Community Arts Council of Vancouver, BC: Sept. 15 - Oct. 24.

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Emil Her Many Horses 
Associate Curator, National Museum of the American Indian
B.A. Augustana College, Sioux Falls, South Dakota, 1979

Emil Her Many Horses is an Associate Curator in the office of Museum Scholarship at the National Museum of the American Indian, Smithsonian Institution. Emil specializes in the central Plains cultures.

Selected Publications:
2006   A Song for The Horse Nation: Horses in Native American Cultures
            
co-editor, with George Horse Capture, (Smithsonian)
2007   Identity by Design: Tradition, Change, and Celebration in Native
            Women’s Dresses 
co-author, with Colleen Cutschall and Janet Berlo
            (Smithsonian).    

Selected Exhibitions:
Our Universes: Traditional Knowledge Shapes Our World, National Museum of
            the American Indian, September 21, 2004 – September 2020.     
Identity by Design: Tradition, Change and Celebration in Native Women’s
​            Dresses, 
Co-Curated with Colleen Cutschall, National Museum of the
            American Indian DC, March 24, 2007 – August 3, 2008, National
            Museum of the American Indian NY, September 26, 2008 – February
            7, 2010. 
Our Peoples community exhibitions featuring the history of the Chiricahua
            Apache of New Mexico and the Blackfeet from Montana, National
            Museum of the American Indian. 
A Song for the Horse Nation: Horses in Native American Cultures, National
            Museum of the American Indian NY, November 14, 2009 – July 7, 2011,
            National Museum of the American Indian DC, October 29, 2011 –
            January 7, 2013.  
Unbound: Narrative Art of the Plains, National Museum of the American
            Indian NY, March 12, 2016 – December 4, 2016. 
Creating Tradition Innovation and Change in American Indian Art, Co-Curated
            with Anthony Chavarria, National Museum of the American Indian and
            Museum of Indian Arts and Culture, Disney’s Epcot Center in Orlando,
            FL., June 2018.  

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Jonathan Holstein
Harvard University, BA.
 
Holstein is an independent curator of museum exhibitions, art dealer and advisor to institutions and collectors in Native American and American folk art. He writes and lectures in the areas in which he has expertise. Jonathan Holstein began to collect Native American art in the late 1960s, when he was photographing art and artists for publications. At the same time he and his wife Gail van der Hoof, interested in their graphic qualities, began to collect and study American pieced quilts. In 1971 they curated the exhibition Abstract Design in American Quilts at the Whitney Museum of American Art in New York which presented them as aesthetic objects and a significant body of American art. In following years they curated scores of similar exhibitions and lectured on the subject in other art museums across the United States and abroad. His first exhibition catalogs on quilts were contemporaneous with those exhibitions, and his first book on the subject, The Pieced Quilt: An American Design Tradition,was published in 1973.  Another, Abstract Design in American Quilts:  A Biography of an Exhibition (1991), an account of their work exhibiting quilts around the world, was published on the 20th anniversary of the original Whitney exhibition, when it was recreated in Louisville, Kentucky. In the 1970s he began to deal in Native American art, and in the coming decades helped build many significant public and private collections.  He continues to curate exhibitions and write and lecture about both quilts and Native American art.  Concurrently, he has acted for four decades as a consultant on Native American art to collectors and museums, including the Thaw Collection at NYSHA. While he is a generalist in such art, he is particularly interested in the art of the Eastern Woodlands and the Southwest.
 
Selected Exhibitions:  
Advisor, new permanent Haudenosaunee Gallery, opened November 2017, Rockwell Museum, Corning, New York
Exhibition:American Quilts:  Sewn Stories.  Munson-Williams-Proctor Arts Institute, Utica, New York, 2017
Exhibition:  American Quilts:  History and Art.  Schweinfurth Art Center, Auburn, New York, 2016-2017.

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Heather Igloliorte
Associate Professor, Concordia University 
Concordia University Research Chairin Indigenous Art History and Community Engagement
PhD Cultural Mediations, Carleton University, 2013
MA Canadian Art History, Carleton University, 2006
BFA Painting and Drawing, NSCAD University, 2003
 
Heather Igloliorte, an Inuk scholar and curator from Nunatsiavut currently residing in Montreal, Quebec, has published extensively on Inuit and other Indigenous arts in academic journals such as PUBLIC, Art Link, TOPIA, Art Journal, and RACAR and in texts such as Negotiations in a Vacant Lot: Studying the Visual in Canada (2014), Curating Difficult Knowledge (2011), and the forthcoming Mapping Modernisms: Indigenous and Colonial Networks of Artistic Exchange and the Dialectics of Discourse (2018). She is the recipient of the CAA 2017 Art Journal Article of the Year Award for her essay, “Curating Inuit Qaujimajatuqangit: Inuit Knowledge in the Qallunaat Art Museum” and her nationally-touring exhibition SakKijâjuk: Art and Craft from Nunatsiavut (2016-2020) received a 2017 Outstanding Achievement Award from the Canadian Museums Association. Her current curatorial projects include the contemporary circumpolar art exhibition Among All These Tundras (2018); the retrospective Alootook Ipellie: Walking Both Sides of an Invisible Border (2018); and the inaugural exhibitions of the Winnipeg Art Gallery’s Inuit Art Centre, opening 2020. In addition to her position on the Faculty Council of the Otsego Institute, Heather is also the co-Chair of the WAG's Indigenous Advisory Circle, and sits on the Indigenous advisory committees of the Social Sciences and Humanities Research Council of Canada, the Federation for the Humanities and Social Sciences, and the National Film Board of Canada. Heather also serves and on the Board of Directors of the Inuit Art Foundation, Native American Art Studies Association, and the Nunavut Film Development Corporation. ​​
 
Past Positions:
Canadian Delegate, Arctic Arts Summit,Canada Council for the Arts, held in
            Harstad Norway, June 19 – 26, 2017.
Indigenous Curatorial Delegate, 57th Venice Biennale, Canada Council for
            the Arts, Venice, Italy, May 7- 16, 2017.
Canadian Delegate, Indigenous Tri-nation First Nations Cultural Exchange,
           Canada Council for the Arts, Creative New Zealand, and Australian
           Arts Council, 2016 –2018.
Visiting Scholar, Hood Museum of Art, Dartmouth College, Hanover, New
           Hampshire, funded by the Institute of Library and Museum Services,
           United States, 2014.

Selected Publications:
“Curating Inuit Qaujimajatuqangit: Inuit Knowledge in the Qallunaat
​          Art Museum,” Art Journal, Kate Morris and Bill Anthes (eds.). College
           Art Association, Vol. 76, No 2, Summer 2017: 100- 113. 
Co-Editor, with Carla Taunton, Continuities Between Eras: Indigenous arts,
           Special Issue, RACAR, Fall 2017. 
SakKijâjuk: Art and Craft from Nunatsiavut. With contributions by Jenna
           Joyce Broomfield, Aimee Chaulk, Christine Lalonde and Barry Pottle.
           St. John’s: The Rooms Provincial Art Gallery/ Goose Lane Editions, 2017 
           (three editions: English, French and Inuttitut).
Co-Editor, with Julie Nagam and Carla Taunton, Indigenous Art: New Media
           and the Digital, Special Issue, PUBLIC 54, Winter 2016. 
“Arctic Culture / Global Indigeneity.” Negotiations in a Vacant Lot: Studying
           the Visual in Canada. 
Lynda Jessup, Erin Morton and Kirsty Robertson
           (eds.). Kingston: McGill - Queen’s University Press, 2014: 150- 170. 

Selected Exhibitions:
Co-curator, with Charissa von Harringa and Amy Prouty, Among All These
           Tundras, 
Leonard & Bina Ellen Art Gallery, Montreal, QC (2018) 
Co-curator, with Sandra Dyck and Christine Lalonde, Alootook Ipellie:
           Walking Both Sides of an Invisible Border, 
Carleton University Art
            Gallery, Ottawa, Ontario (2018, touring - 2020) (http://cuag.ca) 
Curator, SakKijâjuk: Art and Craft from Nunatsiavut, The Rooms Provincial
            Art Gallery, St. John’s, NL (opened October 7, 2016); Art Gallery of Nova
            Scotia (2017); Winnipeg Art Gallery, Winnipeg MB (2018); Mackenzie Art
            Gallery, Regina AB (2019)
Curator, Ilippunga: the Brousseau Inuit Art Collection, Musée national des
            beaux-arts du Québec, Quebec City, Québec (permanent exhibition,
            opened 2016)
Co-Curator, with Mark Turner and Britt Gallpen, iNuit Blanche circumpolar
           night festival
, St. John’s NL (2016) 

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Aldona Jonaitis
Director, University of Alaska Museum of the North
Ph.D., Art History, Columbia University 1977
​

Jonaitis is a specialist in Northwest Coast First Nations art history. In her early work, she analyzed the relationships between art made for social control and that made for use in shamanic rituals among the Tlingit of southeast Alaska. She then worked for many years with the Northwest Coast collection at the American Museum of Natural History, and became interested in Kwak’waka’wakw, George Hunt and Franz Boas. The appropriation of the totem pole by non-Natives, and its use as a stereotype for all American Indians led to a multi year research project with collaborator Aaron Glass. Currently she is writing a book on the Tlingit experience with NAGPRA since the passage of that law in 1990.

Past Positions
1988-1992    Vice President for Public Programs, American Museum of Natural History
1976-1988    Faculty member and administrator, Stony Brook University


Selected Publications
2010    The Northwest Coast Totem Pole: An Intercultural History (co-author,
             Aaron Glass). Seattle: University of Washington Press

2006    Art of the Northwest Coast. Seattle: University of Washington Press
1999     
The Yuquot Whalers’ Shrine. Seattle: University of Washington Press
1995    
A Wealth of Thought: Franz Boas on Native American Art (editor).
            Seattle: 
University of Washington Press.
1991    
Chiefly Feasts: the Enduring Kwakiutl Potlatch (editor). New York and
            Seattle: 
American Museum of Natural History and University of
            Washington Press.


Selected Exhibitions
​2007    Contemporary Alaska Native Art. University of Alaska Museum of the North.
2005    The Rose Berry Alaska Art Gallery. University of Alaska Museum of the 
             North.
​1991     Chiefly Feasts: The Enduring Kwakiutl Potlatch. American Museum of
             Natural 
History, Seattle Art Museum, Houston Museum of Science,
​             National Museum of 
Natural History.

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David W. Penney
Associate Director for Museum Research and Scholarship, National Museum of the American Indian
Ph.D. Art History, Columbia University, 1988

Penney is an art historian whose career has focused primarily on curation and museum administration.  Penney’s scholarship tends to focus on the social and historical contexts for Native art production and circulation. He was among the first art historians to explore the archaeologically-recovered histories of the eastern woodlands region, particularly that of the Hopewell traditions. For thirty years, Penney curated Native American art at the Detroit Institute of Arts, with its strong Great Lakes and Plains focus of the Chandler/Pohrt collection.  As a museum administrator, Penney led a significant shift in Detroit’s exhibit strategies to become an exemplar of “visitor centered” museum practice informed by visitor research.  Penney brought these skills to the National Museum of the American Indian in 2011 where he serves as part of the executive leadership.

Past Positions:
1980 – 2011   Curator; Chief Curator; Vice President for Exhibitions and Collections Strategies, The Detroit Institute of Arts
1988 – 2011   Adjunct Professor of Art History, Wayne State University

Selected Publications:
2017    “Styles, Production, and Collections of Plains Indian Quillwork and
            Beadwork,” In Plains Indian Art: Created In Community, Natalie Panther,
            ed., Tulsa: Gilcrease Museum.
2013   “Native American Art: Pre-contact” Oxford On-Line Bibliography for Art
           History
.  Lodon: Oxford University Press.
2004  Native North American Art, London: Thames and Hudson World of Art
           Series.
2000  "The Poetics of Museum Representations: Tropes of Recent Native
            American Art Exhibitions." The Changing Presentation of the American
            Indian in Museum Exhibits
, W. Richard West, ed. Seattle: University of
            Washington Press and the National Museum of the American Indian.
1999  "America's Pueblo Artists: Encounters on the Borderlands." Twentieth
           Century Native American Art: Essays on History and Criticism
, W. Jackson
           Rushing, ed., New York: Routledge.

Selected Exhibitions:
Kay WalkingStick: An American Artist, Co-Curated with Kathleen Ash-Milby,
            National Museum of the American Indian, November 7, 2015 – September
            18, 2016.
Indigenous Beauty: Masterworks of American Indian Art from the Diker Collection. 
            American Federation of Arts; Seattle Art Museum, February 12 – May 15,
            2015; Amon Carter Museum, July 5 – September 13, 2015; Michael C.
            Carlos Museum, Emory University, October 8 – January 3, 2016; Toledo
            Museum of Art, February 14 – May 11, 2016.
Before and After the Horizon: Anishinaabe Artists of the Great Lakes, Co-
            Curated with Gerald McMaster, National Museum of the American
            Indian and the Art Gallery of Ontario, August 2013 – October 2014.
Art of the American Indian Frontier: The Chandler Pohrt Collection: The
            National Gallery of Art, May 24, 1992 - January 24, 1993; The Seattle
            Art Museum, March 11 - May 9, 1993; Buffalo Bill Historical Center,
            June 18 - September 12, 1993; The Dallas Art Museum, November 7,
            1993 February 6, 1994; The Detroit Institute of Arts, March 27 - June
            19, 1994.
Ancient Art of the American Woodland Indians: The National Gallery of Art,
            March 17 - August 4, 1985; The Detroit Institute of Arts, September 5
            November 7, 1985; Museum of Fine Arts, Houston, December 20, 1985  
​            May 19, 1986.

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Ruth B. Phillips Canada Research Professor and Professor of Art History
PhD Art History, School of Oriental and African Studies, University of London, 1978

After completing a doctoral research on Mende women’s masquerades from Sierra Leone Ruth Phillips shifted her research interests from African art to Native North American art, specializing in the arts of the Great Lakes region. She began teaching at Carleton University in 1984 and also been serving as an occasional as guest curator. The major controversy that developed around The Spirit Sings(1988), for which she curated the Northern Woodlands section, led to her work in critical museology. Involvement in what was then thought of as the postcolonial critique of the museum led in turn led to her appointment as director of the University of British Columbia Museum of Anthropology from 1997 to 2002. In 2003 Ruth returned to Carleton University as a Canada Research Chair. In collaboration with academic, museum and Indigenous community researchers she established the Great Lakes Research Alliance for the Study of Aboriginal Arts and Cultures (GRASAC), which uses digital technologies to create new access to and knowledge about Great Lakes heritage. Most recently she has been working with a group of international collaborators on the Multiple Modernisms project which brings Indigenous modernisms into comparative perspective.

Selected Publications:
2018    Mapping Modernisms: Art, Indigeneity, Colonialism, co-edited with
             Elizabeth Harney (Duke University Press) 
2018:   “Between Rocks and Hard Places: Indigenous Lands, Settler Art Histories,
             and the ‘Battle for the Woodlands’” Journal of Canadian Art History,
             27:1, 11-42.
​
2015    "Aesthetic primitivism revisited: The global diaspora of primitive art
             and the rise of Indigenous modernisms,"  Journal of Art Historiography,      
             
12, June 2015, 1-25 
2014,   with Heidi Bohaker and Alan Ojiig Corbiere, "Wampum Unites Us:
            Digital Access, Interdisciplinarity and Indigenous Knowledge --
            Situating the GRASAC Knowledge Sharing Database," in Raymond
            Silverman ed., Museum as Process: Translating Local and Global
            
Knowledges (New York: Routledge, August 2014), 45-66.
2014   Native North American Art, with Janet Catherine Berlo (New York:
            Oxford University Press)
2011    Museum Pieces: Toward the Indigenization of Canadian Museums
           
(Montreal: McGill Queen’s University Press)
1998   Trading Identities: Native North American Souvenir Arts from the
            Northeast
, 1700-1900 (Seattle: University of Washington Press)
1995   Representing Woman: Sande Masquerades of the Mende of Sierra
           Leone 
(Los Angeles: Fowler Museum)

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Jolene Rickard (Tuscarora)
Associate Professor, Cornell University, Departments of History of Art, Art 
Director of the American Indian and Indigenous Studies Program (AIISP)
PhD, American Studies, State University at Buffalo, 2006
BFA, Rochester Institute of Technology (RIT), 1978
 
Rickard specializes in contemporary Indigenous art, material culture and digital media as a decolonizing and resurgent strategy across the Americas, Aotearoa/New Zealand, Australia and U.N. affiliated Indigenous nations. She prioritizes Indigenous methodologies of recognition of territory, centering Indigenous knowledge through the lens of sovereignty and ecocriticism. With a focus on Hodinöhsö:ni cosmology and history she is working on the figure of Sky Women as a demonstration of ‘rematriation.’ Based on a Banff Journal Residency, 2017 and a Ford Foundation Research Grant, 2008-11, she is editing a contemporary Indigenous arts journal and co-curated the inaugural exhibition, Our Lives and Our Peoplesfor the Smithsonian’s National Museum of the American Indian, Washington, D.C., 2004.
 
Past Positions:
Associate Professor, University at Buffalo, 2006-2010
Graphic Designer, NYC, 1978-1990
 
Selected Publications:
2017.    “Diversifying Sovereignty and the Reception of Indigenous Art” Kate
             Morris and Bill Anthem (eds.) Art Journal, Indigenous Futures, Volume
             76:2, 81-84
2015.    “Arts of Dispossession,” in From Tierra del Fuego to the Arctic:
             Landscape Painting in the Americas, 
Art Gallery of Ontario and Yale
             University Press, 114-120
2013.    “The Emergence of Global Indigenous Art,” (eds.) Greg Hill and Candice
             Hopkins, Sakahán, National Gallery of Canada, 53-60
2011.     “Visualizing Sovereignty in the Time of Biometric Sensors,” (eds.) Eric
             Cheyfitz, N. Bruce Duthu and Sheri M. Huhndorf The South Atlantic
             Quarterly, Sovereignty, Indigeneity, and the Law, 110:2, 465-486
2005.   Rebecca Belmore: Fountain, Jolene Rickard and Jessica Bradley, Co-
             Published by the Morris and Helen Belkin Gallery and Kamloops Art
             Gallery, Canada
1995.    "Sovereignty: A Line In The Sand,"  Aperture, Special Issue Brave Heart,
             (edited) Peggy Rolf, New York, 50-60
Former Faculty
Evan Maurer​

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