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Dana Claxton Bibliography DANA CLAXTON BIBLIOGRAPHY Exhibition Catalogues with work by Dana Claxton Yohe, Hill Ahlberg, and Teri Greeves (ed.). Hearts of Our People: Native Women Artists. Exhibition catalogue. Minneapolis Institute of Art, in association with the University of Washington Press: Seattle, WA, 2019. Berlo, Janet Catherine, and Ruth B. Phillips. “Encircles Everything: A Transformative History of Native Women’s Arts.” Hearts of Our People: Native Women Artists. Ed. Jill Ahlberg Yohe and Teri Greeves. Minneapolis Institute of Art, in association with the University of Washington Press: Seattle, WA, 2019. pp 43-72. Dana Claxton: Fringing the Cube (exhibition catalogue). Ed. Grant Arnold: Vancouver, Canada: Figure 1 Publishing Inc, 2018. 5 essays, ## illustrations. Pages. Besaw, Mindy N. “Dana Claxton.” Art for a New Understanding: Native Voices, 1950s to Now. Edited by Mindy N. Besae, Candice Hopkins, Manuela Well-Off-Man. The University of Arkansas Press: Fayetteville, NC, 2018. pp.168-169. Garneau, David. “Dana Claxton’s Patient Storm.” Dana Claxton: Fringing the Cube (exhibition catalogue). Ed. Grant Arnold. Vancouver, Canada: Figure 1 Publishing Inc, 2018. pp 71-79. Soldier, Layli Long. “Tribute to Dana Claxton and the Art of Generosity.” Dana Claxton: Fringing the Cube (exhibition catalogue). Ed. Grant Arnold. Vancouver, Canada: Figure 1 Publishing Inc., 2018. pp. 81-85. Ritter, Kathleen and Tania Willard. Beat Nation: Art, Hip Hop and Aboriginal Culture. Vancouver Art Gallery publishing, 2012. p. 55. Croft, Brenda L. “Sell-abrasion of our Nations.” Stop(the)Gap: International Indigenous Art in Motion exhibition brochure. Samstag Museum, 2011. p. 2. Todd, Jeremy. “The Ongoing Powers of Dana Claxton.” Fierce: Women’s Hot-Blooded Film/video. [Hamilton ON]: McMaster University, Museum of Art, 2010. pp. 28-9. Arnold, Grant. “Photoconceptual Art and Vancouver.” Audain Collection Catalogue. Vancouver, Canada: Vancouver Art Gallery, 2011. pp. 101-104. Cachia, Amanda. “Map of Blood.” Diabolique. Regina: Dunlop Art Gallery, 2010. pp. 19-31. Hladki, Janice. “ Arrives asking, demanding something of us.” Fierce Women’s Hot-Blooded Film/Video. Catalogue Essay. McMaster University Museum of Art, 2010. pp. 9-22. Elliot, David. The Beauty of Distance: Songs of Survival in a Precarious Age. Woolloomooloo, N.S.W.: Biennale of Sydney, 2010. pp. 150, p. 269. Zimmerman, Patricia. “Ardent Spaces, Formidable Environments.” Fierce: Women’s Hot-Blooded Film/video. Robert McLaughlin Gallery. [Hamilton ON]: McMaster University, Museum of Art, 2010. pp. 41-46. Laflamme, Michelle. “Dana Claxton: Reframing the Sacred and Indigenizing the White Cube.” Diversity and Dialogue: the Eiteliorg Fellowship for Native American Fine Art. Ed. James H. Nottage. Indianapolis: Eiteljorg Museum of American Indians and Western Art; Seattle: In association with University of Washington Press, 2008. pp. 49-59. Deadman, Pat, Peggy Gale, and Heather Smith. Dana Claxton: Sitting Bull and the Moose Jaw Sioux. Catalogue. Moose Jaw : Moose Jaw Museum & Art Gallery publishing, 2007. pp. 11-17. Baerwaldt, Wayne. “Montréal International Centre of Contemporary Art, and Biennale de Montréal.” Remuer Ciel et Terre: La Biennale de Montréal 2007: Exposition Organisée Par Le Centre International D’art Contemporain de Montréal. 2007. pp. 64-5. Gagnon, Monika Kin. “Moving Ground Underfoot.” Topographies catalogue essay. Vancouver, Canada: Vancouver Art Gallery, 1996. pp. 47-85. Townsend-Gault, Charlotte. “Let X = Audience.” Reservation X. Museum of Civilization. Goose Lane, 1998. pp. 41-51. Bell, Lynne. “Taking a Walk in the City.” Urban Fictions. Catalogue essay. Presentation House gallery, 1997. pp. 44-56. Other Publications featuring artwork by Dana Claxton Monographic book chapters and journals Dowell, Kristin L. “Cultural Protocol in Aboriginal Media.” Sovereign Screens: Aboriginal Media on the Canadian West Coast. University of Nebraska Press, 2013. pp. 134-153. Lewis, Randolph. “Chapter Seven: Final Thoughts.” Navajo Talking Picture: Cinema on Native Ground. University of Nebraska Press, 2012. pp. 161-174. Smith, Charles C. “Cultural Diversity in the Media Arts.” Pluralism in the Arts in Canada: A Change is Gonna Come. Canadian Centre for Policy Alternatives, 2012. pp. 137-158. Shaw, Nancy. “Time Codes: recent takes in feminist video.” Making Video “In”. Edited by Jennifer Abbott. Video In Studios: Vancouver Canada, 2000. pp. 109-118 Survey book chapters and journals Morrill, Rebecca, et al. “Dana Claxton.” Great Women Artists. Ed. Phaidon editors. Phaidon publishing, 2019. p. 103 Hladki, Janice. “‘Remembering Otherwise’: Counter-Commemoration and Re-Territorialization in Indigenous Film and Video Art.” Revisit de Estudios Globales y Arte Contemporáneo. Vol 2 No 1, 2014. pp. 93-116. LaPensée, Elizabeth and Jason Edward Lewis. “Timetraveller™: First Nations Nonverbal Communication in Second Life.” Nonverbal Communication in Virtual Worlds: Understanding and Designing Expressive Characters. Ed. Joshua Tanenbaum, Magy Seif El-Nasr, & Michael Nixon. ETC Press, 2014. pp. 94-107. Brophy, Sarah and Janice Hladki. Visual Autobiography in the Frame: Critical Embodiment and Cultural Pedagogy.” Embodied Politics in Visual Autobiography. Cultural Spaces. University of Toronto Press, 2014. pp. 3-30. Kowalsky, Nathan. “Between Relativism and Romanticism: Traditional Ecological Knowledge as Social Critique.” Indigenous Perspectives in North America: A Collection of Studies. Edited by Sepsi, Enikö, Judith Nagy, Miklós Vassányi and János Kenyeres. Cambridge Scholars Publishing, 2014. pp. 2-31. Taunton, Carla. “(Re)memory and Resistance: Video Works by Dana Claxton.” Native Americans on Film: Conversations, Teaching, and Theory. Ed. M. Elise Marubbio and Eric L Buffalohead. Lexington, KY: University of Kentucky, 2013. pp. 116-134. Dowell, Kristin. “Pushing boundaries, Defying categories.” Native Art of the Northwest Coast: A History of Changing Ideas. Ed. Charlotte Townsend-Gault, Jennifer Kramer, and Ki-ke-in. UBC Press, 2013. pp. 828-863. Sugrue, Meagan. “Humour in Contemporary Indigenous Photography: Re-focusing the Colonial Gaze.” The Arbutus Review. Volume 3 No 2, 2012. pp. 61-79. Weder, Adele. “The art of medicine.” CMAJ. Vol 184 No 15, October 2012. pp. 1717-1718. Durand, Guy Sioui. “Look-Facebook-Auto’ado Texto-Photo! Totem Hypermoderne.” Rebelles. Photographie Actuelle et Considérations Insoumises Sur L’adolescence. Ed. Ève Cadieux. J’ai VU Editions, 2012. pp. 24-31. Mathur, Ashok and Rita Wong. “Employing Equity in Post-Secondary Art Institutes.” Retooling the Humanities: The Culture of Research in Canadian Universities. Ed. Smart Kamboureli and Daniel Coleman. University of Alberta Press, 2011. pp. 113-131. Racette, Sherry Farrell. “Returning Fire, Pointing the Canon: Aboriginal Photography as Resistance.” The Cultural work of photography in Canada. Edited by Andrea Kunard and Carol Payne. McGill-Queen’s University Press, 2011. pp. 70-90. Kelsey, Penelope Myrtle. “Condolence Tropes and Haudenosaunee Visuality.” American Indian Studies: Visualities. Ed. Denise K. Cummings. Michigan State University Press, 2011. pp. 119-130. Lindner, Markus H. “‘WE ALL HAVE TO PAY BILLS’: Zeitgenössische Sioux-Künstler und der Markt.” Paideuma. No 57, 2011. pp. 135-159. Dowell, Kristin. “Performance and ‘Trickster Aesthetics’ in the Work of Mohawk Filmmaker Shelley Niro.” Native American Performance and Representation. Ed. S.E. Wilmer. University of Arizona Press, 2011. pp. 207-221. Taunton, Carla. “Indigenous (Re)memory and Resistance: Video Works by Dana Claxton.” Post Script. Vol 29 issue 3, summer 2010. pp. 215-233. Marubbio, Elise. “Introduction to Native American/indigenous film.” Post Script. Vol 29 Issue 3, 2010. pp. 3-12. Berson, Amber. “Dana Claxton, The Mustang Suite and Hybrid Humour”. St. Andrews Journal of Art History and Museum Studies. Volume 14, 2010. pp. 77-83. Hubbard, Tasha. “‘The Buffaloes Are Gone’ or ‘Return: Buffalo’? The Relationship of the Buffalo to Indigenous Creative Expression.” Canadian Journal of Native Studies. 29.1-2, 2009. pp. 65-85. Wemigwans, Jennifer. “Indigenous Worldview: Cultural Expression on the World Wide Web.” Canadian Woman Studies. Vol 26, issue 3/4, winter/spring 2008. pp. 31-38. Hladki, Janice. “Decolonizing Colonial Violence: The Subversive Practices of Aboriginal Film and Video.” Canadian Woman Studies. 25.1-2, 2006. pp. 83-87. Battiste, Marie, Lynne Bell, Isobel M. Findlay, Len Findlay and James (Sákéj) Youngblood Henderson. “Thinking Place: Animating the Indigenous Humanities in Education.” The Australian Journal of Indigenous Education. Vol 34, 2005. pp. 7-19. Bell, Lynne. “The Post/Colonial Photographic Archive and the Work of Memory.” Image and Inscription: An Anthology of Contemporary Canadian Photography. Ed. Robert Bean. Toronto: YYZ Books, 2005. pp. 150-165. Baltruschat, Doris. “Television and Canada’s Aboriginal Communities.” Canadian Journal of Communication. 29.1, 2004. pp. 47-59. Dahle, Sigrid. “Negative Space: Abattoirs by Artists and the Representation of Trauma.” Obsession, Compulsion, Collection: On Objects, Display Culture, and Interpretation. Ed. Anthony Kiendl. Banff AB: Banff Centre Press, 2004. pp. 133-145. La Flamme, Michelle. “Unsettling the West.” Women Filmmakers: Refocusing. Jacqueline Levithin. UBC Press, 2003. pp. 403-418. Gagnon, Monika Kin. 13 Conversations about Art & Cultural Race Politics. Artextes Editions. Montreal, 2002. pp. 33-5. Walsh, Andrea. “Complex Sightings Aboriginal Art and Intercultural Spectatorship”. On Aboriginal
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