ACC Bibliographic References

In collecting an extensive (but not exhaustive) list of bibliographic references on First Nations, Métis and Inuit art, the Aboriginal Curatorial Collective aims to offer a wide range of resources for those researching contemporary Indigenous visual art. The bibliography includes mainstream publications as well as master's theses, doctoral dissertations, brochures, and catalogues. The ACC’s bibliographic reference acknowledges and highlights the works of Aboriginal curators and writers who contribute their distinct voice to the discourse of contemporary art.

The list was developed to be used as a resource tool, as well as the first step towards initiating an archive that will lead to the ACC becoming a repository for such works. There are a number of bibliographic lists compiled and published that include Lawrence Abbott’s Contemporary Native Art I and II: A Bibliography in American Indian Quarterly Vol. 29 # 3 and 4, and Janet Berlo and Ruth Phillips include one in their publication Native North American Art (Oxford History of Art) 1999. Inuit Art has several extensive bibliographies published by Indian and Northern Affairs Canada (1992) and the most recent Richard and Susan Crandall’s An Annotated Bibliography of Inuit Art (2001). For this specific reason, the list referencing Inuit Art will begin in 2002 on.

The intent of the ACC is not to duplicate or replace other services, but to give support to students, curators, artists, researchers, art historians and the general public in the course of researching and accessing information. Many libraries, museums, galleries, cultural centres as well as bookstores have on-line databases to check the availability of the publication. Some significant places to access these publications as well as “artist files” include university libraries, Artexte, Indian and Inuit Art Centres (Indian and Northern Affairs Canada), the Canadian Museum of Civilization, Atlatl, the National Gallery Of Canada, and the Heard Museum (www.heard.org) among others.

The ACC would like to thank all those who contributed their personal bibliographies, and we would like to encourage all those in the field to submit their recent work to the list so that the ACC bibliography on Aboriginal art will grow and continue to remain relevant.

* 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

Ace, Barry, Ravens Wait (Michael Belmore). Hull, Quebec: Indian Art Centre, April 1999.

Ace Barry, “Rosalie Favell: I searched many worlds.” In Collecting Many Worlds. Winnipeg,
Manitoba: Winnipeg Art Gallery. pp. 21-28. 2003.

Ace, Barry, Who Stole the Teepee? ed. Rick Hill and Truman Lowe, Phoenix, AZ, Atlatl Inc. 2002.

Ace, Barry, “Longing and Not Belonging: Rosalie Favell.” In CV Photo. Montreal, Quebec: Productions Ciel Variable 2000, . No.53. pp. 23 - 30. Winter 2000.

Ace, Barry. From Stereotype to Archetype (Maria Hupfield and Danny Cutfeet). Hull, Quebec: Indian Art Centre (DIAND), August 2000.

Ace, Barry. Shamanic Images (Rick Rivet), Hull, Quebec: Indian Art Centre (DIAND), January 2000.

Ace, Barry. pelage (Mary Anne Barkhouse). Hull, Quebec: Indian Art Centre (DIAND), November 1999.

Ace, Barry, Fix The Gaze...The Reparative Act 1999 (Linda Young). Hull, Quebec: Indian Art Centre (DIAND), June,1999.

Ace, Barry, I, (Audrey Greyeyes). Hull, Quebec: Indian Art Centre (DIAND), November, 1998.

Ace, Barry, For Fearless and Other Indians (Shelley Niro). Hull, Quebec: Indian Art Centre (DIAND. October 1998.

Ace, Barry, inter/SECTION. (Jeffrey Thomas). Hull, Quebec: Indian Art Centre (DIAND) January 1998.

Ace, Barry, “Kokiibinaagan: Symbols of Cultural Continuity,” In Celebration of Indigenous Thought and Expression, Sault Ste. Marie, Michigan: Lake Superior State University Press 1995.

Ace, Barry and Gerald McMaster, Osopikahikiwak (Rick Rivet and Jane Ash-Poitras). Canadian Cultural Centre, Paris, France. June – October, 1999.

Ace, Barry and Ryan Rice, Longing and Not Belonging (Rosalie Favell) Hull, Quebec: Indian Art Centre (DIAND). February 1999.

Ace, Barry and July Papatsie, Transitions: Contemporary Canadian Indian and Inuit Art. Hull, Quebec: Indian Art Centre (DIAND) 1997.

Acland, Joan, First Nations Artists In Canada: A Biographical – Bibliographical Guide, 1960-1999. Montreal, QC: Gail and Stephen Jurislowsky Institute for Studies in Canadian Art / Concordia University, 2001.

Agard, Nadema, “Art as a Medium For Countering Race Stereotypes” In Council on Interracial Books for Children Bulletin Volume 11, Number 8, 1980.

Agard, Nadem, a “Southeastern Native Arts Directory,” Indian Studies Department, Bemidji State University, 1993.

Agard, Nadema, Art as a Vehicle for Empowerment IN VOICES OF COLOR.

Agard, Nadema, “Art and Society in the Americas,” Humanities Press International, Inc., Atlantic Highlands, New Jersey, 1997.

Agard, Nadema, “Selu and Kanati: Cherokee Corn Mother and Lucky Hunter.” Mondo Publishing, New York, 1997

Agard, Nadema, “Chicano Art Collector: Cheech Marin.” CIBU Magazine, October 2004.

Agard, Nadema, “Brooklyn Museum to Have a New Entrance Pavilion and Public Plaza,” CIBU Magazine October 2004.

Alfred, Taiaiake, Peace Power Righteousness. Canada: Oxford University Press, 1999.

Alibhai, Amir Ali, George Littlechild: Past & Recent Work, Surrey, BC: Surrey Art Gallery 1996

Alibhai, Amir Ali and Doreen Mellor, Four Circles / Soaring Visions, Richmond, BC: Tandanya National Aboriginal Cultural Institute and Richmond Art Gallery 1998-2000.

Alison, Jane, Ed. Native Nations: Journeys in American Photography. London: Barbican Art Gallery, 1998.

Anderson, Duane, Legacy: Southwest Indian Art at the School of American Research. School of American Research 1998.

Angeconeb, Ahmoo, Cedar And Sweetgrass: Works From The Permanent Collection, Thunder Bay, ON: Thunder Bay Art Gallery 1991

Archuleta, Margaret, 3rd Biennial Native American Fine Arts Invitational, Phoenix, AZ: Heard Museum 1987

Archuleta, Margaret and Rennard Strickland ed. Shared Visions: Native American Painters and Sculptors in the Twentieth Century. Phoenix, Arizona: Heard Museum, 1991.

Arnold, Grant, Monika Kin Gagnon, and Doreen Jensen, Topographies: Aspects Of Recent BC Art, Vancouver, Twentieth Century. Phoenix, Arizona: Heard Museum, 1991.

Ash-Milby, Kathleen, “Contemporary Native American Art in the Twenty-First Century: Overcoming the Legacy.” European Review of Native America 2005.

Ash-Milby, Kathleen, Contemporary Native American Art: Reflections after Lewis and Clark. Missoula: The University of Montana Press, Montana Museum of Art & Culture, 2005.

Ash-Milby, Kathleen, “Finding Our Way: Negotiating Community in Contemporary Native Art.” In Making a Noise: Aboriginal Perspectives on Art, Art History, Critical Writing and Community. Banff, Alberta: Banff International Curatorial Institute, Walter Phillips Gallery, 2005.

Ash-Milby, Kathleen, “Still in the Shadows: Native American Art in the 21st Century.” In Transcultural New Jersey: Diverse Artists Shaping Culture and Communities. New Brunswick: Rutgers, The State University of New Jersey, 2004.

Ash-Milby, Kathleen, “The Indian as ‘Artist’: Native American Art at the Rockwell Museum of Western Art.” In People, Places and Ideas: The Rockwell Museum of Western Art. Corning, NY: Rockwell Museum of Western Art, 2001.

Ash-Milby, Kathleen, “Bonita Wa Wa Calachaw Nu’ez: an Indian Princess Painter.” In Painters, Patrons and Identity: Essays in Honor of J. J. Brody and the University of New Mexico, Ed. Joyce M. Szabo, Albuquerque: University of New Mexico Press, 2001.

Ash-Milby, Kathleen, Book Review: Reservation X: The Power of Place in Aboriginal Contemporary Art. Edited by Gerald McMaster. Seattle: University of Washington Press and Canadian Museum of Civilization, 1998." In Great Plains Quarterly, 20:3, 2000.

Ash-Milby, Kathleen, “Lorenzo Clayton.” Native Artists Magazine (Winter 2000).

Ash-Milby, Kathleen, “Lorenzo Clayton.” In Contemporary Masters, The Eiteljorg Fellowship for Native American Fine Art, Vol. I, Indianapolis: Eiteljorg Museum of American Indians and Western Art, 1999.

Ash-Milby, Kathleen, “Who Was Wa-Wa Chaw?” In Talking Stick: Arts Newsletter (2:3): 1999.

Ash-Milby, Kathleen and Susan Heald, “Woven by the Grandmothers: Twenty-four Blankets Travel to the Navajo Nation.” In Journal of the American Institute for Conservation 38:3, 1998.

Ash-Milby, Kathleen,"Textiles at the National Museum of the American Indian.” In Textile Society of America Newsletter (9:1): 1997.

Ash-Milby, Kathleen, Exhibition Review: Living in Balance: The Universe of the Hopi, Zuni, Navajo and Apache. University of Pennsylvania Museum of Archaeology and Anthropology." In Museum Anthropology (20:1), 1996.

Ash-Milby, Kathleen, Eulalie H. Bonar and D.Y. Begay. “Woven by the Grandmothers: Nineteenth-Century Navajo Textiles from the National Museum of the American Indian: Three Perspectives on a Museum Project.” In Native Peoples Magazine (9:4): 36-42, 1996.

Ash-Milby, Kathleen, “Emblems of Continuity and Change: A Comparison and Analysis of Pre-Reservation and Reservation Period Eagle-Feather Headdresses.” Masters Thesis. University of New Mexico, 1994.