Art Journal Spring 2017
Cover: Postcommodity, Repellent Fence, 2015, installation view (artwork © Postcommodity; photograph by Michael Lundgren provided by Postcommodity)
Norval Morrisseau with his painting Androgyny, 1983, which he presented to the people of Canada at the opening of his solo exhibition Norval Morrisseau: Shaman Artist at the National Gallery of Canada, Ottawa, 2006, organized by Greg Hill (photograph from Ottawa Sun © Postmedia Network Canada Corporation)
Art Journal Summer 2017, p. 25
Rebecca Belmore, Ayumee-aawach Oomama-mowan: Speaking to Their Mother, 1991, performance with a wooden megaphone, multiple locations (artwork © Rebecca Belmore)
Art Journal Summer 2017, p. 58
Kent Monkman, Struggle For Balance, 2013, acrylic on canvas 7 ft. x 10 ft. 6 in. (213.4 x 320 cm) (artwork © Kent Monkman; photograph provided by the artist)
Art Journal Summer 2017, p. 75
Ogimaa Mikana, Gego ghazaagwenmishkin pii wii Anishinaabemywin, 2014, Bayfield Street, Barrie, Ontario, August 2014 (artwork © Ogimaa Mikana; photograph by Susan Blight)
Art Journal Summer 2017, p. 97
Annie Pootoogook, Pitseolak Drawing with Two Girls on the Bed, detail, 2006, colored pencil on paper, 20 x 26 in. (50.8 x 66 cm). Private collection (artwork © Dorset Fine Arts; photograph provided by Dorset Fine Arts)
Art Journal Summer 2017, p. 104
Nadia Myre, Indian Act (page 13), 2000–3, seed beads, stroud cloth, thread, Indian Act (R.S. chapters 1–5, 1985 paper), one of 56 elements, ea. 15¾ x 15 x 1¼ in. (40 x 38 x 3 cm) (artwork © Nadia Myre; photograph provided by Art Mur Gallery)
Art Journal Summer 2017, p. 119
Marie Watt, Companion Species, 2017, reclaimed wool blanket, embroidery floss, thread, 15½ x 23½ in. (39.4 x 59.7 cm) (artwork © Marie Watt; photograph by Aaron Johanson)
Art Journal Summer 2017, p. 132
© Postcommodity; photographs provided by Postcommodity
Art Journal Summer 2017, p. 134
Image Science: Iconology, Visual Culture, and Media Aesthetics by W. J. T. Mitchell
A Cultural History of the Avant-Garde in the Nordic Countries, 1950–75 by Tania Ørum and Jesper Olsson
Hélio Oiticica: To Organize Delirium
Chandigarh Is in India edited by Shanay Jhaveri
Leap Before You Look: Black Mountain College 1933–1957 edited by Helen Molesworth with Ruth Erickson
In This Issue
Rebecca M. Brown
Indigenous Futures, 5
Indigenous Futures
Kate Morris and Bill Anthes
2017: Indigenous Futures, 6
Kathleen Ash-Milby and Ruth B. Phillips
Inclusivity or Sovereignty? Native American Arts in the Gallery and the Museum since 1992, 10
Candice Hopkins
We Are Always Turning Around on Purpose: Reflecting on Three Decades of Indigenous Curatorial Practice, 39
Jessica L. Horton
Indigenous Artists against the Anthropocene, 48
Kate Morris
Crash: Specters of Colonialism in Contemporary Indigenous Art, 70
Jolene Rickard
Diversifying Sovereignty and the Reception of Indigenous Art, 81
Dylan Robinson
Public Writing, Sovereign Reading: Indigenous Language Art in Public Space, 85
Heather Igloliorte
Curating Inuit Qaujimajatuqangit: Inuit Knowledge in the Qallunaat Art Museum, 100
Sherry Farrell Racette
Tuft Life: Stitching Sovereignty in Contemporary Indigenous Art, 114
Marie Watt
In Conversation with Marie Watt: A New Coyote Tale, 124
Artists’ Project
Postcommodity, 136
Reviews
Caroline A. Jones on W. J. T. Mitchell, Image Science: Iconology, Visual Culture, and Media Aesthetics; Karen Kurczynski on Tania Ørum and Jesper Olsson, A Cultural History of the Avant-Garde in the Nordic Countries, 1950–75; Camila Maroja on Hélio Oiticica: To Organize Delirium and the exhibition Hélio Oiticica: To Organize Delirium; Tracy Bonfitto on Shanay Jhaveri, ed. Chandigarh Is in India; Erica DiBenedetto on Helen Molesworth, ed., with Ruth Erickson, Leap Before You Look: Black Mountain College 1933–1957 and the exhibition Leap Before You Look: Black Mountain College 1933–1957