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Uva-DARE (Digital Academic Repository) UvA-DARE (Digital Academic Repository) The new tribe: Critical perspectives and practices in Aboriginal contemporary art McMaster, G.R. Publication date 1999 Link to publication Citation for published version (APA): McMaster, G. R. (1999). The new tribe: Critical perspectives and practices in Aboriginal contemporary art. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:23 Sep 2021 250 The New Tribe Supplement IV List of Illustrations fig- 1 Edward Poitras, Coyote (1986). Collection of Neil Devitt, Regina, Saskatchewan. fig. 2a Edward Poitras, Big Dog House (1995). Mixed-media installation. From the exhibition Edward Poitras: Canada XLVI Biennale di Venezia, 1995. Collection of the artist. Photograph by Stephen Darby. fig- 2b Edward Poitras, Big Dog House, (detail). fig. 3 Edward Poitras, Treaty Indian Card (1993). Mixed-media wall installation. From the exhibition Three Lemons and a Dead Coyote, Ottawa School of Art. Collection of the artist. Photograph by Gerald McMaster. (detail) fig. 4 Edward Poitras, Stone Books (1995). Mixed-media installation. From the exhibition Edward Poitras: Canada XLVI Biennale di Venezia, 1995. Collection of the artist. Photograph by Stephen Darby. fig. 5a Edward Poitras, Three Lemons and a Dead Coyote (1993). Mixed media installation. Collection of the Canadian Museum of Civilization. Photograph by Stephen Darby. fig. 5b Edward Poitras, Three Lemons and a Dead Coyote, (detail). From the exhibition of the same name at the Ottawa School of Art. fig. 6 Edward Poitras, Wevoka's Hat (1996). Mixed-media installation. From the exhibition Edward Poitras: Canada XLVI Biennale di Venezia, at the Canadian Museum of Civilization, 1996. Collection of the artist. Photograph by Stephen Darby. fig. 7a Edward Poitras and Gerald McMaster, Untitled (1995). Mixed-media installation. From the exhibition Prärie-und Piainsindianer: Wandel und Tradition, Westfälisches Museum für Naturkunde, Münster, Germany, 1995. Photograph by R. Franke. fig. 7b Edward Poitras and Gerald McMaster, Untitled, (detail). fig. 8 Jeffrey Thomas. Dream Escape—Bear Thomas (1995). Triptych. Collection of the artist. fig. 9 Jeffrey Thomas, Dancers, Niagara Falls, New York (1985). Black and white photograph. Collection of the artist. fig. 10 Jeffrey Thomas, Nepean Point Indian Guide: Champlain Monument (1993). Diptych. Collection of the artist. fig. 11 Jeffrey Thomas, Founder of the New World, Winnipeg, Manitoba (1989). Collection of the artist. fig. 12 Jeffrey Thomas, Bear Thomas, "General Store " ( 1994). Collection of the artist. fig. 13 Jeffrey Thomas, Tail-gate Poitrait at Smoothtown (1991). Collection of the artist. fig. 14 Rebecca Belmore, Artifact #671B (1988). Performance at the Thunder Bay Art Gallery, Thunder Bay. Photograph by Bill Landsay Studio 12. fig. 15a James Luna, The Artifact Piece (1987). Mixed-media installation and performance at the Museum of Man, San Diego. fig. 15b James Luna, The Artifact Piece. fig. 15c James Luna, The Artifact Piece. 251 fig. 16 Jimmie Durham, On Loan from the Museum of the American Indian (1986). Mixed-media. Collection of the artist. fig. 17a Joane Cardinal-Schubert, Preservation of a Species—Warshirt Series. Mixed- media installation. Collection of the artist. Photography by Lawrence Cook. fig- 17b Joane Cardinal-Schubert, /5 This My Grandmother's? (detail, 1988). fig- 18 Jane Ash Poitras, Transformation, Assimilated Indian, Hudson's Bay Lure (1990). Mixed-media installation. From the exhibition Who Discovered the Americas: Recent Work by Jane Ash Poitras. Photograph by Gerald McMaster. fig- 19 Petroglyphs. Peterborough, Ontario. fig- 20 Edward Poitras, Offensive/Defensive (1988). Sod. Collection of the Saskatchewan Arts Board, Regina. fig. 21 Lance Belanger, Lithic Sphere (1994), at home of Vagn Lundby in Rudkobing, Island of Longeland, Denmark. fig. 22 Lance Belanger, Los Bolas Grandes, photograph by artist for the exhibition El Tango Neolitico, National Museum of Costa Rica, April 1997. fig. 23 Lance Belanger, Lithic Spheres ( 1992). Collection of the artist. fig. 24 Alex Janvier, 287, detail of signature. fig. 25 Alex Janvier, Morning Star (1993). Acrylic on plaster. Permanent installation at the Canadian Museum of Civilization. Photograph by Harry Foster and Stephen Darby. fig. 26 Carl Beam, The North American Iceberg (1985). Acrylic, photo-serigraph, pencil on Plexiglas, 213.6 X 374.1 cm. Collection of the National Gallery of Canada, Ottawa. fig. 27 Two-Row Wampum, Iroquois. Collection of the Six Nations Confederacy, Six Nations Reserve, Ontario. fig. 28 Teresa Marshall, Bering Strait Jacket (1993). Mixed-media wall installation. From the exhibition The Deportment of Indian Affairs, A Space, Toronto. Collection of the artist. Photograph by Don Hall. fig. 29 Robert Houle, Everything You Wanted to Know About Indians A-Z (1985). Mixed-media installation. Collection of the Thunder Bay Art Gallery. fig. 30 Robert Houle, The Place Where God Lives (1989). Oil on canvas, 4 panels, each 244 X 182.8 cm, collection of the National Gallery of Canada, Ottawa. fig. 31 Robert Houle, Anishnabe Walker Court, Part 2 ( 1993). Silk-screen on plaster wall. Art Gallery of Ontario, Toronto, Ontario. fig. 32a Robert Houle, Kekabishcoon Péenish Chipedahbung (1997). Mixed-media wall installation. From the exhibition A View of Things: Robert Houle and Don Hall, "Ghost Writer Series," Mercer Union, Toronto. fig. 32b Robert Houle, Kekabishcoon Péenish Chipedahbung (detail). fig. 33a Rebecca Belmore, Avum-ee-aawach Oomama-mowan: Speaking to Then- Mother (27 July 1991). Megaphone, 2 m. diameter. Performance work with 13 Native speakers, Banff, Alberta. Photograph courtesy of the artist. fig. 33b Rebecca Belmore, Ayum-ee-aawach Oomama-mowan: Speaking to Their Mother. fig. 34 Mary Longman, Resei-vations (1993). Mixed media, 137 x 38 x 38.5 cm. From the exhibition Mary Longman: Traces. Collection and photograph courtesy the Kamloops Art Gallery. 252 The New Tribe fig. 35 Mary Longman, Medicine People (1996). Mixed-media, 377 x 377 x 377 cm. Collection and photograph courtesy Kamloops Art Gallery. fig. 36 Mary Longman, Strata and Routes (1998). Mixed-media installation. From the exhibition Resei-vation X: The Power of Place in Aboriginal Contemporary Art, Canadian Museum of Civilization. Photography by Harry Foster. fig.37a Nora Naranjo-Morse, Gia's Song (1998). Mixed-media installation. From the exhibition Reservation X: The Power of Place in Aboriginal Contemporary Art, Canadian Museum of Civilization. Photography by Harry Foster. fig. 37b Nora Naranjo-Morse, Gia's Song, (detail). fig. 37c. Nora Naranjo-Morse, Gia's Song, (detail). fig. 38a Marianne Nicolson, House of Origin (1998). Mixed-media installation. From the exhibition Reservation X: The Power of Place in Aboriginal Contemporary Art, Canadian Museum of Civilization. Photography by Harry Foster. fig. 38b Marianne Nicolson, House of Origin, (detail). fig. 39a Shelley Niro, Honey Moccasin (1998). Mixed media installation. From the exhibition Reservation X: The Power of Place in Aboriginal Contemporary Art, Canadian Museum of Civilization. Photography by Harry Foster. fig. 39b Shelley'Niro, Honey Moccasin, (detail). fig. 40a Jolene Rickard. Com Blue Room (1998). Mixed-media installation. From the exhibition Reservation X: The Power of Place in Aboriginal Contemporary Art, Canadian Museum of Civilization. Photography by Harry Foster. fig. 40b Jolene Rickard, Corn Blue Room. fig. 41 Mateo Romero, Painted Caves (1998). Mixed-media installation. Collection of the Canadian Museum of Civilization. From the exhibition Resei-vation X: The Power of Place in Aboriginal Contemporary Art, Canadian Museum of Civilization. Photography by Harry Foster. fig. 42 C. Maxx Stevens, Dreaming of Circles and Chairs (1991). Mixed-media installation. From an exhibition at the College of Santa Fe, New Mexico. Photograph courtesy of C. Maxx Stevens. fig. 43 C. Maxx Stevens, Histoty: True or False ( 1993). Mixed-media installation. From an exhibition at the College of Santa Fe, New Mexico. Photograph courtesy of C. Maxx Stevens. fig. 44a C. Maxx Stevens, if these walls could talk ( 1998). Mixed-media installation. From the exhibition Reseivation X: The Power of Place in Aboriginal Contemporary Art, Canadian Museum of Civilization. Photography by Harry Foster. fig. 44b C. Maxx Stevens, if these walls could talk. .
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