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.
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
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
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).
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).
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.
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.
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.
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.
|
|
|
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.
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.
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)
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)
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.
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.
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.
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.
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)
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)
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
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
Evan Maurer
