ACC Bibliographic References

* Names in bold are Aboriginal writers.

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

Macnair, Peter L., Alan L. Hoover, Kevin Neary. The Legacy: Tradition and Innovation in Northwest Coast Indian Art. Vancouver, B.C.: Douglas & McIntyre; Seattle: University of Washington Press, 1984.

Madill, Shirley, Sovereignty Over Subjectivity: Robert Houle, Winnipeg, MB: Winnipeg Art Gallery 1999.

Madill, Shirley, Robert Houle: Indians From A To Z, Winnipeg, MB: Winnipeg Art Gallery 1990-91.

Mainprize, Garrry, Stardusters, Thunder Bay, ON: Thunder Bay Art Gallery 1986.

Martin, Lee Ann, The Politics of Inclusion and Exclusion: Contemporary Native Art and Public Art Museums in Canada, Ottawa, Canada Council, 1991.

Martin, Lee Ann, Contemporary First Nations Art since 1970: Individual Practices and Collective Activism,” The Visual Arts in Canada: The Twentieth Century, Oxford University Press, forthcoming spring 2006.

Martin, Lee Ann, “The Waters of Venice: Rebecca Belmore at the 51st Biennale,” Canadian Art, Summer 2005, Vol. 22, No. 2, pp. 48 - 53.

Martin, Lee Ann, Editor, Making a Noise – A discussion of contemporary art, art history, critical writing and community from Aboriginal perspectives, Banff Centre Press, Banff, Alberta, 2005.

Martin, Lee Ann, “Wordplay: Issues of Authority and Territory,” Making a Noise – A discussion of contemporary art, art history, critical writing and community from Aboriginal perspectives, Banff Centre Press, Banff, Alberta, 2005, ed. Lee-Ann Martin, pp. 102 – 107.

Martin, Lee Ann, In My Lifetime, Musee national des beaux-arts du Quebec, Quebec City, February 2005.

Martin, Lee Ann, A History Lesson: Contemporary Aboriginal Art from the Collection of the MacKenzie Art Gallery, Museum of Contemporary Canadian Art, Toronto, Ontario, 2004.

Martin, Lee Ann, Divergences: Rebecca Belmore and Shelley Niro, MacKenzie Art Gallery, Regina, Saskatchewan, 2004.

Martin, Lee Ann, Mapping Our Territories, Walter Phillips Gallery, Banff, Alberta, 2002.

Martin, Lee Ann, “An/Other One: Aboriginal Art Curators and Art Museums,” The Edge of Everything: Curating for the Future, ed. Catherine Thomas, Banff Centre Press, Banff, 2002, pp. 49 - 56.

Martin, Lee Ann, Sherry Farrell Racette: Illustrative Images, MacKenzie Art Gallery, Regina, 2002.

Martin, Lee Ann, “Negotiating Space for Aboriginal Art “in ‘On Aboriginal Representation in the Gallery’, ed. Lynda Jessup with Sharon Bagg, Canadian Museum of Civilization, Ottawa, 2002, pp 239 - 246.

Martin, Lee Ann, “Edward Poitras: Being In His Own Time,” The Governor General’s Awards in Visual and Media Arts 2002, The Canada Council for the Arts, 2002.

Martin, Lee Ann, “Shelley Niro: Flying Woman,” After the Storm: The Eiteljorg Fellowship for Native American Fine Art, 2001, ed. W. Jackson Rushing II, Eiteljorg Museum, Indianapolis and University of Washington Press, Seattle, 2001.

Martin, Lee Ann and Bob Boyer, The Powwow: An Art History, MacKenzie Art Gallery, Regina, 2000.

Martin, Lee Ann, Studio Series: Sheila Orr, MacKenzie Art Gallery, Regina, 2000.

Martin, Lee Ann and Morgan Wood, EXPOSED: Aesthetics of Aboriginal Erotic Art, MacKenzie Art Gallery, Regina, 1999.

Martin, Lee Ann, Ted Goodden: Local Colour, MacKenzie Art Gallery, Regina, 1999.

Martin, Lee Ann, Marsha Kennedy: Stilled Lives, MacKenzie Art Gallery, Regina, 1999.

Martin, Lee Ann, WIGWAS: The Art of Birch Bark Biting, MacKenzie Art Gallery, Regina, 1999.

Martin, Lee Ann, Joanne Bristol: s.p.a.c.e.t.r.a.s.h.1.9.9.9., MacKenzie Art Gallery, Regina, 1999.

Martin, Lee Ann, Richard Kerr: The After Motion Picture Series, MacKenzie Art Gallery, Regina, 1998.

Martin, Lee Ann, “Shaping the Future of Aboriginal Curatorial Practice,” with Morgan Wood, Inuit Art Quarterly, Vol. 13, No. 2, Summer 1998, pp. 22-25.

Martin, Lee Ann, "First Nations Art at the Thunder Bay Art Gallery: A Commitment to Collecting". Thunder Bay Art Gallery Permanent Collection Catalogue, Thunder Bay,1996.

Martin, Lee Ann, “Indigenous Renewal = Reclamation + Redefinition + Reality = Identity” In 16 Songs/Issues of Personal Assessment and Indigenous Renewal, The University of North Texas Art Gallery, Denton, Texas, 1996.

Martin, Lee Ann, “Issues of Post-Coloniality”. Proceedings: Curatorship: Indigenous Perspectives in Post-Colonial Societies, May 1994. Canadian Museum of Civilization and the Commonwealth Association of Museums and the University of Victoria, 1996, pp. 26-28.

Martin, Lee Ann, "First Nations Activism Through the Arts". Questions of Community: Artists, Audiences, Coalitions, Banff Centre Press, Banff, Alberta, l995, pp. 77-90.

Martin, Lee Ann, "Morning Star", Museums Review, The Journal of the Alberta Museums Association,Vol. 21, Issue 2, Summer l995, pp. 65-66.

Martin, Lee Ann, Alex Janvier: Negotiating the Land. Exhibition catalogue, Mendel Art Gallery, Saskatoon, Saskatchewan, l994.

Martin, Lee Ann, "The Language of Place", Wana-Na-Wang-Ong: Rebecca Belmore, Contemporary Art Gallery, Vancouver, British Columbia, l994.

Martin, Lee Ann, "Life is Full of Contradictions: Reflection on 'Reality'," Mandate Study, l990-93.An Investigation of Issues Surrounding the Exhibition, Collection and Interpretation of Contemporary Art by First Nation Artists. Thunder Bay Art Gallery, Thunder Bay, Ontario, l994.

Martin, Lee Ann, Domingo Cisneros. SKY BONES. Mendel Art Gallery, Saskatoon, Saskatchewan, l993.

Martin, Lee Ann, THE ART OF ALEX JANVIER: His First Thirty Years (l960-l990). Thunder Bay Art Gallery, Thunder Bay, Ontario, l993.

Martin, Lee Ann, "The Burden of Authorship: Narratives of First Nations Artists within the context of INDIGENA", THIRD TEXT, Winter l992-93, pp. 83-94.

Martin, Lee Ann, "INDIGENA: Perspectives of Indigenous Peoples on Five Hundred Years", with Gerald McMaster. American Indian Art Magazine, Vol. l7(4): 66-77, Autumn l992.

Martin, Lee Ann, INDIGENA: Contemporary Native Perspectives. Editor with Gerald McMaster. Canadian Museum of Civilization, Hull, Québec and Douglas & McIntyre, Vancouver, l992.

Martin, Lee Ann, "SOLIDARITY: Art After Oka", Curatorial Statement. SAW News IV(3), May/June l99l.

Martin, Lee Ann, The Politics of Inclusion and Exclusion: Contemporary Native Art and Canadian Art Museums. Report submitted to The Canada Council, Ottawa, Ontario, l99l.

Martin, Lee Ann, "The Contemporary Indian Art Collection at the Canadian Museum of Civilization", with Gerald McMaster. American Indian Art Magazine l5(4):50-55, l990.

Martin, Lee Ann, Curatorial Perspective, First Nations Art '90, Woodland Cultural Centre Museum, Brantford, Ontario, l990.

Martin, Lee Ann, Exhibition Review, "Decelebration", with Gerald McMaster. Native Art Studies Association of Canada Newsletter, Vol. 3, No. 3, l989. Reprinted in ARTSCRAFT 2(l):20-2l, Spring l990.

Martin, Lee Ann, Raven's Work: Northwest Coast Indian Art. The McMichael Canadian Art Collection, Kleinburg, Ontario, l989.

Martin, Lee Ann, "Canadian Indian Art", The McMichael Canadian Art Collection Catalogue, McGraw-Hill-Ryerson Press, Toronto, Ontario, l989.

Martin, Lee Ann, Artists of the Dawn: Christine Nicholas and Senabeh. Northeast Folklore Society, University of Maine, Orono, Maine, l987.

Martin, Lee Ann, "A Celebration of Native American Life and Art", Explorations: A Research Journal of the University of Maine, Orono, Maine, Fall l987.

Massé, Isabelle, Primordial Memories: Works By Jane Ash Poitras, Ottawa, Ontario: Galerie d'art Vincent, 2005

Maskegon-Iskwew, Ahasiw, Storm Spirits: The Cultural Ecology of Aboriginal New Media Art, Urban Shaman Aboriginal, http://drumbytes.org/about/StormSpiritsCuratorial.pdf 2005

Maskegon-Iskwew, Ahasiw, The Strength of Uncertain Relations: violence, indeterminance and the art of peace,” in After the Facts FADO Performance Art, http://www.performance art.ca/after.rapprt,html. 2005.

Maskegon-Iskwew, Ahasiw, “Documenting Fluid Memes: Slippery Translucence and Visceral Reflection in Performance Art,”), in After the Facts FADO Performance Art, http://drumbytes.org/about/DocumentingFluidMemes.pdf , 2005.

Maskegon-Iskwew, Ahasiw, “ConundrumOnline.ca Editorial.” In ConunDrum Online Aboriginal Art Magazine, Steve Loft, Ed., Vol. http://conundrumonline.ca/one/editorial.php 2005.

Maskegon-Iskwew, Ahasiw, “Weak Credentials: Aboriginal Cultural Knowledge in Contemporary Colonial A.rt.” In Tiré à part/Off Printing: Conference proceedings. RCAAQ, Montreal. http://drumbytes.org/about/WeakCredentials.pdf. June 2005

Maskegon-Iskwew, Ahasiw, “Drumbeats to Drumbytes: Globalizing Networked Aboriginal Art,” In Transference, Tradition, Technology: Native New Media Exploring Visual and Digital Culture, ed. Dana Claxton, Banff: Walter Phillips Gallery, 2005.

Maskegon-Iskwew, Ahasiw, “Sneakup and the Totentanz: All Our Relations Confronting the Dance of Death,” in INDIANacts – Aboriginal Performance Art. Florene Belmore, Ed. Vancouver, BC: grunt gallery, 2005.

Maskegon-Iskwew, Ahasiw, “waynohtêw and the âpihtawikosisân Infiltration of Deep Structure,” In Caught in the Act: An Anthology of Performance Art by Canadian Women, Tanya Mars and Johanna Householder, eds., YYZ Books, Toronto 2005.

Maskegon-Iskwew, Ahasiw, “Mapping Homunculi at War: Aboriginal Performance Art Sneaks Up,” In Signified: Ritual Language in First Nations Performance Art, Regina, SK: Sâkêwêwak Artists Collective, 2002.

Maskegon-Iskwew, Ahasiw, “Hysterical, Auto-cannibalist Culture versus Trans-temporal Interwoven Identities,” In The Multiple and Mutable Subject, Vera LaMecha and Reva Stone eds., Winnipeg, MB: St. Norbert Arts Centre, 2001.

Maskegon-Iskwew, Ahasiw, Front Line Art: Forum on Community Arts Report, Louise May and Gerry Atwell, eds., Winnipeg, MB: St. Norbert Arts and Cultural Centre, 1999.

Maskegon-Iskwew, Ahasiw, “Native Love: Subverting the Boundaries of the Heart,” in FUSE, Vol. 19, No. 4, Summer 1996. p. 24.

Maskegon-Iskwew, Ahasiw, “Nêhiyawêwin and Virtual Reality,” In MIX: the magazine of artist-run culture (formerly Parallélograqmme), Winter 1995/96, p. 38.

Maskegon-Iskwew, Ahasiw, “The Mocassin Telegraph Goes High-Tech,” in Talking Stick First Nations Arts Magazine, Vol. 1, No. 2, Spring, 1994. p. 26. in Talking Stick First Nations Arts Magazine, Vol. 1, No. 2, Spring, 1994. p. 26.

Mattes, Cathy, Art-It-Fact II: Lionel Peyachew, Brandon, Manitoba: Art Gallery of Southwestern Manitoba 2005.

Mattes, Cathy, The Best Man By: Riel Benn, Brandon, Manitoba: Art Gallery Of Southwestern Manitoba 2004

Mattes, Cathy, Cowboys And Indian (And Métis?) By: David Garneau, Brandon, Manitoba: Art Gallery of Southwestern Manitoba 2004.

Mattes, Cathy, Without Reservation: Lita Fontaine, Winnipeg, MB: Winnipeg Art Gallery 2002.

Mattes, Cathy, Heather Henry and Lionel Auburn Peyachew, Gatineau, QC: Indian Art Centre (INAC) 2001.

Mattes, Catherine, Gathering: Aboriginal Art from the Collection of the Winnipeg Art Gallery,
Winnipeg, MB: Winnipeg Art Gallery 2002

Maurer, Evan M., The Native American Heritage: A Survey of North American Indian Art. Chicago, IL: Arts Institute of Chicago, 1977.

Maybury-Lewis, David, Millennium: Tribal Wisdom and the Modern World, New York: Viking, 1992.

McDonald, Frederick R., Ancestral Portraits: The Colour Of My People, Alberta: 2002

McEvilley, Thomas, Art and Otherness: Crisis in Identity. New York, Documentext, McPherson and Company, 1992.

McLuhan, Elizabeth, Contemporary Native Art Of Canada - Silk Screens From The Triple K Co-operative, Red Lake, Ontario, Toronto, ON: Royal Ontario Museum 1977<

McLuhan, Elizabeth, Last Camp First Song: Indian Art From The Royal Ontario Museum, Thunder Bay, ON: Thunder Bay Art Gallery 1983.

McLuhan, Elizabeth, Weneebaykook; Seven Printmakers From James Bay, Thunder Bay ON: Thunder Bay Art Gallery 1983.

McLuhan, Elizabeth, Renewal: Masterworks Of Contemporary Indian Art From The National Museum Of Man, Thunder Bay Art Gallery 1982.

McLuhan, Elizabeth, Renegade: The Art Of Leo Yerxa, Thunder Bay, ON: Thunder Bay Art Gallery 1984

McLuhan, Elizabeth, Waabanda-Iwewin, Thunder Bay, ON: Thunder Bay Art Gallery 1984.

McLuhan, Elizabeth, Altered Egos: The Multimedia Work Of Carl Beam, Thunder Bay, ON: Thunder Bay Art Gallery 1984.

McLuhan, Elizabeth, Benjamin Chee Chee, Thunder Bay, ON: Thunder Bay Art Gallery
1983 - 1984.

McLuhan, Elizabeth, Wigwas Bark Biting By Angelique Merasty, Thunder Bay, ON: Thunder Bay Art Gallery 1983.

McLuhan, Elizabeth and Sheehan, Carol, The Eye Of The Dreamer: Heroes And Heroic Transformation In Northwest Coast Silkscreen Prints, Thunder Bay, ON: Thunder Bay Art Gallery 1983.

McLuhan, Elizabeth and R.M Vanderburgh, Daphne Odjig: A Retrospective 1946 - 1985, Thunder Bay, ON: Thunder Bay Art Gallery 1985.

McMaster, Gerald R., Challenges: De Meervaart, Ottawa, ON: National Museum of Man 1985

McMaster, Gerald, R. New Tribe: New York. National Museum of the American Indian. Washington, DC. 2005

McMaster, Gerald, Venice Biennale, National Museum of the American Indian magazine, 2005.

McMaster, Gerald, Crow’s Shadow: Art and Community: Migrations project. Tamarind Institute, Albuquerque, New Mexico (forthcoming).

McMaster, Gerald, “Museums and the Native Voice,” Museums after Modernism. University of Leeds. (forthcoming)

McMaster, Gerald, The Native Universe: Voices of Indian America. Eds. Gerald McMaster and Clifford Trafzer. National Museum of the American Indian and National Geographic. Washington, DC. 2004.

McMaster, Gerald, First American Art: The Charles and Valerie Diker Collection of American Indian Art. Eds. Bruce Bernstein and Gerald McMaster. Smithsonian National Museum of the American Indian in association with the University of Washington Press. 2004.

McMaster, Gerald, “Our (Inter) Related History,” On Aboriginal Representation in the Gallery. Eds. Lynda Jessup with Shannon Bagg. Hull, Quebec: Canadian Museum of Civilization. 3-8. 2002.

McMaster, Gerald, “Solitary Confinement,” Draw and Tell: Lines of Transformation by Norval Morrisseau/Copper Thunderbird. Drawing Center, New York 2001.

McMaster, Gerald, “Rebuilding the Spirit,” Unbury My Heart: New Work by Shelley Niro. McMaster University Art Gallery, Hamilton, Ontario. 2001

McMaster, Gerald, “Notes on a Plains Aesthetic,” Uncommon Legacies: Native American Art from the Peabody Essex. John R. Grimes, et al. Peabody Essex Museum. Essex, Mass. 2000.

McMaster, Gerald, The New Tribe: Critical Perspectives and Practices in Aboriginal Contemporary Art. Dss. University of Amsterdam, School for Cultural Analysis, Theory and Interpretation. 1999.

McMaster, Gerald, “Rick Rivet,” IN The Eiteljorg Fellowship for Native American Fine Art. Indianapolis: Eiteljorg Museum of American Indians and Western Art: 32-36. 1999

McMaster, Gerald, “Jane Ash Poitras: An Indian in Paris,” In Osopikahikiwak: Jane Ash Poitras and Rick Rivet. Paris: Services culturels de l’Ambassade du Canada: 23-30. 1999.

McMaster, Gerald, Reservation X: The Power of Place in Aboriginal Contemporary Art. Hull, Quebec: Canadian Museum of Civilization, Fredericton, Goose Lane, 1998.

McMaster, Gerald, “Museums and Galleries as Sites for Artistic Intervention,” In The Subjects of Art History: Historical Objects in Contemporary Perspectives. Eds. Mark A. Cheetham, Michael Ann Holly, and Keith Moxey . Oxford: Oxford University Press: 250-261. 1998.

McMaster, Gerald, “A View of Things: Robert Houle/Don Hall,” In Ghostwriter. Toronto: Mercer Union. 1998.

McMaster, Gerald, “Mistatim: The Horse of My Memory,” In Heritage: The Magazine of the New York State Historical Association, 13(3-4):50-55. 1997.

McMaster, Gerald, “Towards An Aboriginal Art History,” In Native American Art. Ed. W. Jackson Rushing. London: Routledge: 81-96. 1997.

McMaster, Gerald, “Responding to Everyday Life: An Interview with Joane Cardinal-Schubert,” In Joane Cardinal- Schubert Retrospective. Exhibition catalogue. Muttart Public Art Gallery, Calgary, Alberta. 1997.

McMaster, Gerald, “Encyclopedias of Experience: A Curatorial Dialogue on Drawing and Drawing Books,” In Plains Indian Drawings 1865-1935: Pages From A Visual History. Ed. Janet Catherine Berlo. New York: Harry N. Abrams, Inc. Publishers; New York: The American Federation of Arts; New York: The Drawing Center. 19-25. 1996.

McMaster, Gerald, “The Subject of Displacement: A Response to the Judicial Decision Regarding What Constitutes a Work of Art that is Neither Canadian nor Indian Enough to be part of the said Collection.” FUSE Magazine, Spring. 1996

McMaster, Gerald, Jeffery Thomas: Portraits from the Dancing Grounds. Exhibition catalogue. Ottawa: Ottawa Art Gallery. 1996

McMaster, Gerald, Mary Longman: Traces. Exhibition catalogue. Kamloops, BC: Kamloops Art Gallery.1996.

McMaster, Gerald, “Creating Spaces,” In Thinking About Exhibitions. Eds. Reesa Greenberg, Bruce W. Ferguson and Sandy Nairne. New York: Routledge. 191-200 1996.

McMaster, Gerald, Edward Poitras Canada XLVI Biennale di Venezia. Hull, Quebec: Canadian Museum of Civilization. 1995.

McMaster, Gerald, “Bering Strait Jacket,” In Teresa Marshall: The Deportment of Indian Affairs. Toronto: A Space Gallery. 1995

McMaster, Gerald, “Object (to) Sanctity: The Politics of the Object,” In International Journal of Canadian Studies. 12 Fall: 11-29. 1995.

McMaster, Gerald, Beaded Radicals and Born-Again Pagans: Situating Artists Within the Field of Art. M.A. Thesis. Carleton University. 1994.

McMaster, Gerald, “I Feel at Home With My Ancestors: A Canadian Perspective,” American Visions: Artistic and Cultural Identity in the Western Hemisphere. Eds. Noreen Tomassi, Mary Jane Jacob and Ivo Mesquita. New York: American Council for the Arts and Allworth Press: 136-142 1994.

McMaster, Gerald, “Border Zones: The ‘Injun-uity’ of Aesthetic Tricks.” In Cultural Studies 9(1):74-90. 1994.

McMaster, Gerald, “Gerald McMaster: Discovering the levels of Meaning.” In All Roads Are Good: Native Voices on Lifem and Culture. Washington, D.C.: National Museum of the American Indian and Smithsonian Press: 113-121. 1994.

McMaster, Gerald, “The Politics in Canadian Native Art.” In Mandate Study 1990-93: An Investigation of Issues Surrounding the Exhibition, Collection and Interpretation of Contemporary Art by First Nations Artists. Thunder Bay: Thunder Bay Art Gallery: 7-19.1992.

McMaster, Gerald, INDIGENA: Contemporary Native Perspectives. Edited with Lee-Ann Martin. Douglas & McIntyre: Vancouver. 1992.

McMaster, Gerald, “Re-Constructing the Cultural Community,” In Sharing the Circle, Saskatoon, Saskatchewan: Wanuskewin Centre. 1992.

McMaster, Gerald, “Colonial Alchemy: Reading the Boarding School Experience.” In Partial Recall: Photographs of Native North Americans. Ed. Lucy Lippard. New York: The New Press. 76-87. 1992.

McMaster, Gerald, “Paint, Sculpt, Draw!” In ArtSource: Resource Guide to the Arts, Visual Arts in Canada: Painting.

McMaster, Gerald, Drawing and Sculpture. Ottawa: Secretary of State/Multiculturalism and Citizenship. 1992.

McMaster, Gerald, “Every day is Earth Day: A Native Artists Perspective.” In Le continent imprevu: Rencontres avec les Amerindiens. Paris: UNESCO. 1992./p>

McMaster, Gerald, Enduring Strength. Minneapolis: Intermedia Arts Minnesota and Two Rivers Gallery. 1992.

McMaster, Gerald, “How the West was Lost: An Artists Perspective.” In Gatherings: The Enowkin Journal of First North American Peoples, Volume II; European Review of Native American Studies, 5(2), pp. 15-18. 1991.

McMaster, Gerald, He Kemo Sabe! Sais-tu qui est le ‘Grand Chief’?” In L'oeil Amerindien: Regards sur l'animal, Sous la Direction de Helene Dionne. Quebec: Musee de la Civilization. 1992.

McMaster, Gerald, “The Persistence of Land Claims.” In Robert Houle: Indians From A - Z. Ed. Shirley Madill. Winnipeg: Winnipeg Art Gallery: 32-44. 1990

McMaster, Gerald, “Our Home, BUT the Native’s Land: Problems of Representation.” In MUSE. Autumn. 1990

McMaster, Gerald, “Identity Crisis: A Native Experience.” Unpublished essay on Gregory Stevens. 1990.

McMaster, Gerald, “More than Beads and Feathers.” In The Saskatchewan Indian.1988

McMaster, Gerald, “Schwache Bande zur Vergangenheit: Indianisches Kunsthandwerk in der Reservationszeit.” In Im Schatten der Sonne: Zeitgenössische Kunst der Indianer und Eskimos in Kanada. Ed. Gerhard Hoffmann. Stuttgart: Edition Cantz; Hull: Canadian Museum of Civilization: 105-118. Also published as “Tenuous Lines of Descent: Indian Arts and Crafts of the Reservation Period.” In The Canadian Journal of Native Studies, 9(2), 1989.

McMaster, Gerald, CHALLENGES. Amsterdam: de Meervaart Cultural Centre.1985

McMaster, Gerald, “Alex Janvier, Sarain Stump, Willie Seaweed, and Mungo Martin.” In The New Canadian Encyclopedia. Edmonton: Hurtig.1984

McMaster, Gerald, “A Wearable At Form: 19th Century Robe Paintings.” In Canadian Home Economics Journal. Edmonton, Summer issue. 1983.

Meier, Rhonda et al., Nadia Myre Cont[r[act, Montreal, QC: Oboro Gallery 2003.

Mera, H. P. Pueblo Designs: 176 Illustrations of the “Rain Bird.” New York: Dover Publications, 1970, c1938.

Milrod, Linda, Wana-Na-Wang-Ong (Belmore, Rebecca), Vancouver, BC: Contemporary Art Gallery 1994.

Mitten, Brenda and Yvonne Maracle, Visions: From Contemporary Native Photographers, Hamilton, ON: Native Indian/Inuit Photographers Association 1985.

Monthan, Guy. Art and Indian Individualists: The Art of Seventeen Contemporary Southwestern Artists and Craftsmen. Flagstaff, AZ: Northland Press, 1975.

Morgan, Judith .P., Git Skee'een Niidiit People Of The Skeena River: Gitksan History in Art. BC 2004.

Morgan, Judith, P., Celebration: Paintings And History By Judith P. Morgan, British Columbia: 1999.

Morrow, Mable. Indian Rawhide: An American Folk Art. Norman: University of Oklahoma Press, 1975.