Published on the occasion of an exhibition which brings together Neel's powwow photographs and mask carvings, this catalogue contains: a curatorial essay by Hunter which focuses on the Kwagiutl artist's use of a traditional First Nations art form (mask making) to explore contemporary political, economic and social issues affecting Native peoples; an essay by Neel which considers the history of Northwest Coast Native art in relation to Modernism. The artist also provides a brief introduction to his "Powwow Series" of photographic diptychs. Biographical notes on the curator. 33 bibl. ref
In April 1982, Nishga carver Norman Tait hosted the raising of a fifty-five foot totem pole named Bi...
"Publication of a group exhibition featuring the work of two dozen artists who belong to the Iroquoi...
Krueger discusses notions of native identity and spiritualism in works using traditional and modern ...
Published on the occasion of an exhibition which brings together Neel's powwow photographs and mask ...
1991Purchased for the Camosun College Art Collection by the Camosun College Cultural Enhancement Com...
I Won't Play Primitive to Your Modern: The Art of David Neel (Kwagiutl), 1985-2000 examines the prod...
David Neel, born in 1960, is a professional photographer as well as a hereditary Kwakwaka'wakw artis...
Catalogue to accompany an exhibition presenting 75 works representing of Aboriginal mythic beings, b...
In 1991, the National Archives of Canada made its first deliberate acquisition of art works by an In...
Catalogue for an exhibition on the history of Native American painting and the powow ritual (late 18...
Nemiroff documents the Native art collections of the National Gallery of Canada and provides a chron...
Neel's photographs of native people are contrasted with stereotypical images of natives taken by whi...
Seven authors bear witness to the political stakes and artistic problems underlining the de-folklori...
In the 1960's a revival of Northwest Coast Indian art began to take place in British Columbia, follo...
Red Cloud Indian Art Show A Continuum of Native Art Native American art cannot be defined by one aes...
In April 1982, Nishga carver Norman Tait hosted the raising of a fifty-five foot totem pole named Bi...
"Publication of a group exhibition featuring the work of two dozen artists who belong to the Iroquoi...
Krueger discusses notions of native identity and spiritualism in works using traditional and modern ...
Published on the occasion of an exhibition which brings together Neel's powwow photographs and mask ...
1991Purchased for the Camosun College Art Collection by the Camosun College Cultural Enhancement Com...
I Won't Play Primitive to Your Modern: The Art of David Neel (Kwagiutl), 1985-2000 examines the prod...
David Neel, born in 1960, is a professional photographer as well as a hereditary Kwakwaka'wakw artis...
Catalogue to accompany an exhibition presenting 75 works representing of Aboriginal mythic beings, b...
In 1991, the National Archives of Canada made its first deliberate acquisition of art works by an In...
Catalogue for an exhibition on the history of Native American painting and the powow ritual (late 18...
Nemiroff documents the Native art collections of the National Gallery of Canada and provides a chron...
Neel's photographs of native people are contrasted with stereotypical images of natives taken by whi...
Seven authors bear witness to the political stakes and artistic problems underlining the de-folklori...
In the 1960's a revival of Northwest Coast Indian art began to take place in British Columbia, follo...
Red Cloud Indian Art Show A Continuum of Native Art Native American art cannot be defined by one aes...
In April 1982, Nishga carver Norman Tait hosted the raising of a fifty-five foot totem pole named Bi...
"Publication of a group exhibition featuring the work of two dozen artists who belong to the Iroquoi...
Krueger discusses notions of native identity and spiritualism in works using traditional and modern ...