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Book Categories |
| List of Illustrations | ||
| Acknowledgements | ||
| Hard Inclusion | ||
| 1 | Our (Inter) Related History | 3 |
| 2 | A First Nations Perspective: The AGO or the Woodland Cultural Centre? | 9 |
| 3 | First Nations and Art Museums | 17 |
| 4 | Framing Aboriginal Art at the Museum of Sydney | 27 |
| 5 | After Essay - Questioning History, Questioning Art | 37 |
| 6 | A Proper Place for Art or the Proper Arts of Place?: Native North American Objects and the Hierarchies of Art, Craft, and Souvenir | 45 |
| 7 | Crossing New Borders to Exhibit Iroquois Tourist Art | 73 |
| 8 | (Cultural) Objects of (Cultural) Value: Commodification and the Development of a Northwest Coast Artworld | 93 |
| 9 | After Essay - Indigenous is the Local | 115 |
| 10 | Edmund Morris: Speaking of First Nations | 127 |
| 11 | Expanded Visions: Collaborative Approaches to Exhibiting First Nations Histories and Artistic Traditions | 149 |
| 12 | The Cunningham Collection of Haida Argillite at the Art Gallery of Ontario | 163 |
| 13 | After Essay - What's the Story? | 175 |
| 14 | The Anthropology of Inuit Art: A Problem for Art Historians | 183 |
| 15 | Status 2000: Presenting Contemporary Inuit Art in the Gallery Setting | 195 |
| 16 | After Essay - And What About Inuit Art? | 205 |
| 17 | Weaving Stories of Art | 217 |
| 18 | After Essay - After Words | 221 |
| 19 | Five Suggestions for Better Living | 229 |
| 20 | Negotiating Space for Aboriginal Art | 239 |
| 21 | Complex Sightings: Aboriginal Art and Intercultural Spectatorship | 247 |
| 22 | After Essay - And Also ... | 271 |
| 23 | [Aboriginal] [Representation] [in the Museum] Articulations of the Creative, the Organic and the Instrumental | 283 |
| Appendix | 295 | |
| Contributors | 305 |
| Price | Condition | Delivery | Seller | Action |
| $99.99 | Digital |
| WonderClub |
Robin Lasater
reviewed On Aboriginal Representation in the Gallery (Mercury Series in Canadian Ethnology Service #135) on February 02, 2021 On Aboriginal Representation in the Gallery (Mercury Series in Canadian Ethnology Service #135)
This reminded me a little of the 'Celestine prophecy', but different. I had heard about it because I am always interested in reading about how people find their way into working with clay, and Statnekov falls into the art form sideways through his new age explorations and experimentation with sound. The memoir doesn't really discuss the pottery making side of it until the last part of the book. But what it does do is give you a tiny peephole view of what life was like in the 70s around different parts of the world, and in the borders of counterculture back then. I enjoyed the story of it, but not sure what I think of it. I only wish the author had included photos of his handmade sets of whistles in the book, it would have been great to have seen them after reading about their creation.
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