| Acknowledgments |
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xi | |
| Author Biographies |
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xii | |
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xxiii | |
| Preface |
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xxvi | |
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| Introduction: The Path Before Us: Generating and Foregrounding Indigenous Art Theory and Method |
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1 | (18) |
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SECTION I Sovereignty and Futurity |
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19 | (64) |
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1 Art, Visual Sovereignty and Pushing Perceptions |
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21 | (9) |
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2 Dancing Sovereignty: Reclaiming the Grease Trail Through Protocol, Movement, and Song |
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30 | (12) |
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3 Shifting the Paradigm of Art History: A Multi-sited Indigenous Approach |
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42 | (11) |
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4 An Inuit Approach to Archival Work Based on Respect and Adaptability |
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53 | (11) |
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5 Overclock Our Imagination!: Mapping the Indigenous Future Imaginary |
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64 | (12) |
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6 A Manifesto of Close Encounters |
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76 | (7) |
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SECTION II Kinship, Care, Relationality |
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83 | (68) |
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7 Kitchen Tables and Beads: Space and Gesture in Contemplative and Creative Research |
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85 | (7) |
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8 Expanding Relationships: Beyond the Non |
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92 | (6) |
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9 Wisdom in Beauty: Respect in Indigenous Curation |
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98 | (5) |
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10 Balancing Curatorial Indigenous and Queer Belonging: In Conversation with Artist and Curator Adrian Stimson (Blackfoot Siksika Nation) |
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103 | (12) |
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11 Taking Good Care: Collaborative Curating and the Alberni Indian Residential School Art Collection |
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115 | (11) |
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12 Betraying the Object: Relational Anxieties and Bureaucratic Care in Indigenous Collections Research |
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126 | (11) |
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13 A Brief Conversation on Visiting, Mentoring, The Land, and Art History |
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137 | (14) |
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SECTION III Indigenous Ways of Knowing and Being |
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151 | (82) |
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14 Miyikosiwin: Spirit, Land and Form Among Turtle Island's Indigenous Artists, Designers and Architects |
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153 | (6) |
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15 Indigenous Curation in LA: The People's Home: Winston Street 1974 |
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159 | (12) |
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16 The Giving Tree: Methodologies of Generosity |
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171 | (9) |
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17 Frontmnners as an Exploration of Indigenous Littoral Curation |
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180 | (9) |
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18 A:Shiwi Art History: The Strength of Pueblo Place |
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189 | (11) |
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19 Inuit Research Methodologies: Conversations Toward Reclaiming Inuit Protocols with Robert Comeau |
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200 | (10) |
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20 A Braided Process: Decolonizing, Indigenizing, and Self-Determination |
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210 | (13) |
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21 There are No Metaphors: A Proposal for Dreaming Indigenous Philosophies into Studio Arts Education |
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223 | (10) |
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SECTION IV Anti-colonial Practices |
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233 | (98) |
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22 From Colonial Trophy Case to Non-Colonial Keeping House |
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235 | (12) |
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23 An Ethic of Decolonial Questioning: Exercising the Quadruple Turn in the Arts and Culture Sector |
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247 | (14) |
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24 Unsettling Artistic Expectations With Two-eyed Seeing |
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261 | (14) |
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25 Decolonizing Representation: Ontological Transformations Through Re-mediation of Indigenous Representation in Popular Culture and Indigenous Interventions |
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275 | (9) |
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26 Care Full Discomfort: Engaged Decolonial Practice, People and Admin |
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284 | (12) |
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27 Telling the Stories of Objects in Museum Collections: Some Thoughts and Approaches |
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296 | (11) |
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28 Art Racism to Indigenography Methodology |
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307 | (10) |
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29 A Glossary of Insistence |
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317 | (14) |
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SECTION V Stories, Living Knowledges, Continuity and Resurgence |
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331 | (71) |
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30 Writing and Sharing Our Art Histories: Storying Histories of Art: Activating the Visual |
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333 | (10) |
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31 Bringing Stories to Sites at Shore Lunch Clarkson/Mississauga |
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343 | (9) |
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32 "The Words You Choose are Purposeful": On Inuit Writing and Editing |
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352 | (10) |
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33 Beyond Queer Survivance |
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362 | (9) |
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34 Indigenous Abstraction: A Vehicle for Visioning |
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371 | (10) |
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35 Alaska Native Artistic Reclamation and the Persistence of Indigenous Aesthetics |
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381 | (8) |
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36 Foregrounding Pivalliatitsinik/Piggautigijaunikkut: Indigenous Mentorship in Creative Spaces |
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389 | (13) |
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| Bibliography |
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402 | (22) |
| Index |
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424 | |