Art

This meditation on the poetics of re-worlding follows the threads of Spiderwoman Theater’s Storyweaving practice back to its Guna and Rappahannock sources to illuminate its history, mechanics, and development for coming generations.

The Spiderwoman Theatre, the longest-running Indigenous theatre company in North America has heralded the revolutionary methodology of Storyweaving for generations of Indigenous artists. Storyweaving is a distinct methodology that governs the dramaturgical structure and performed transmission of the company’s plays on the contemporary stage. The practice of Storyweaving predates written history. It has been (and remains) specific to tribal storytellers across the continent.

The reclamation, then, of this aesthetic legacy by contemporary Indigenous storytellers is a crucial act of recovery. Jill Carter, an Anishinaabe-Ashkenazi theatre-worker and scholar, examines the process and development of Storyweaving. She studies how Storyweaving imagines and architects a functional framework that is being adopted and adapted by artists from myriad nations to create works (on the page and stage) that facilitate the healing, transformation, and survivance of their communities. Between the Layers pays respects to the teachers and visionaries that moulded this practice and encourages future generations to continue its legacy, while making a much-needed contribution to the study of Indigenous theatre and performance.

In its painstaking documentation of the Storyweaving artform, Between the Layers refuses the devaluation, erasure, and suppression of Indigenous culture, while contributing to the dissemination and celebration of Indigenous Knowledge Systems.

Educator Information

Table of Contents
List of Illustrations

Acknowledgements

Spiderwoman Theater: A Performance History

Introduction: Between the Layers

Chapter One:
Persistence of Violent Delights:
“It’s All the Same Bullshit Again”

Chapter Two:
“An Indian is an Idea a Man Has of Himself”

Chapter Three:
An Indian is More than Just an “Idea”:
By Their Acts Ye Shall Know Them

Chapter Four:
Towards a Poetics of Re-Worlding:
Becoming (and then Staging) the New Human Being

Chapter Five:
The Published Texts

Chapter Six:
The Three Sisters from There to Here:
Spiderwoman’s Issue and the Project of Re-worlding

Appendices

Works Cited

Additional Information
376 pages | 6.00" x 9.00" | 8 illustrations | Hardcover

Turning a lens on the dark legacy of colonialism in horror film, from Scream to Halloween and beyond.

Horror films, more than any other genre, offer a chilling glimpse—like peering through a creaky attic door—into the brutality of settler colonial violence. While Indigenous peoples continue to struggle against colonization, white settler narratives consistently position them as a threat, depicting the Indigenous Other as an ever-present menace, lurking on the fringes of “civilized” society. Indigenous inclusion or exclusion in horror films tells a larger story about myths, fears, and anxieties that have endured for centuries.

Bloodied Bodies, Bloody Landscapes traces connections between Indigenous representations, gender, and sexuality within iconic horror classics like The Texas Chainsaw Massacre and Friday the 13th. The savage killer, the romantic and doomed Indian, the feral “mad woman”—no trope or archetype escapes the shadowy influence of settler colonialism. In the end, horror both disrupts and uncovers colonial violence—only to bury its victims once more.

Reviews
“This is the book I’ve waited my whole movie-geek life for.”— Jesse Wente

“Bloody Bodies, Bloody Landscapes is a must read for anyone consuming horror media. Laura Hall masterfully dissects the ways in which settler-colonialism is at the core of sexism, racism, sanism, and white supremacy, and how we see those systems of oppression at work in historical and contemporary horror.”— Jessica Johns

“Expertly foregrounding the most overlooked horror in this film genre—settler colonialism—Bloodies Bodies, Bloody Landscapes is deadly.”— Christine Sy

"Bloodied Bodies, Bloody Landscapes is brilliant scholarship that pinpoints the ugly truth about the treatment of Indigenous people in horror cinema. But Hall is doing much more than examining tropes of mysticism, savagery, and settler colonialism-as savior in horror; she is directing our attention to the recuperative power of certain portrayals, thereby reminding us that an anticolonial lens can produce whole and full human stories—even scary ones.”— Robin R. Means Coleman, author of The Black Guy Dies First: Black Horror from Fodder to Oscar

Educator Information
Table of Contents
Introduction

Chapter 1. They’re Here! Settler Colonialism and the Horror Film
Chapter 2. The Bloodsucking Brady Bunch: Gender, the Family and Settler Colonial Horrors
Chapter 3. We All go A Little Mad Sometimes!
Chapter 4. Cowboys in the Antarctic: Settler Colonialism and Nature in Horror
Chapter 5. Jason Voorhees Does a Land Acknowledgement: Indigeneity Lurking in the Woods

Conclusion
Sources

Additional Information
288 pages | 6.02" x 9.01" | Paperback

A singular collection of responses to the still life paintings of acclaimed artist David Garneau

Dark Chapters brings together 17 poets, fiction writers, curators, and critics to engage with the works of David Garneau, the Governor General’s Award-winning Métis artist. Featuring paintings from Garneau’s still life series “Dark Chapters” alongside poetry, fiction, critical analysis, and autotheory, the book includes contributions from Fred Wah, Paul Seesequasis, Jesse Wente, Lillian Allen, Billy-Ray Belcourt, Larissa Lai, Susan Musgrave, and more.

A nod to the Reports of Truth and Reconciliation Commission, in which Justice Murray Sinclair describes the residential school system as “one of the darkest, most troubling chapters in our nation’s history,” Garneau’s still life paintings combine common objects (books, bones, teacups, mirrors) and less familiar ones (a Métis sash, a stone hammer, a braid of sweetgrass) to reflect the complexity of contemporary Indigenous experiences. Provocative titles like “Métis in the Academy” and “Smudge Before Reading” invite consideration of the mixed influences and loyalties faced by Indigenous students and scholars. Other paintings explore colonialism, vertical and lateral violence, Christian influence on traditional knowledge, and museum treatment of Indigenous belongings.

Rooted in Garneau’s life-long engagement at the intersections of visual art and writing, Dark Chapters presents a multifaceted reflection on the work of an inimitable, unparalleled artist.

Includes contributions from Arin Fay, Billy-Ray Belcourt, Cecily Nicholson, David Howes, Dick Averns, Fred Wah, Jeff Derksen, Jesse Wente, John G. Hampton, Larissa Lai, Lillian Allen, Paul Seesequasis, Peter Morin, Rita Bouvier, Susan Musgrave, Tarene Thomas, and Trevor Herriot.

Reviews
“A smart collection of art and essays, Dark Chapters activates deep conversations about art, resistance, and sovereignty. Visiting with paintings by Métis artist David Garneau, seventeen poets, curators, and thinkers offer complex provocations that trouble and activate new forms of communities and relationships.” —Dr. Carmen Robertson, Canada Research Chair in North American Indigenous Visual and Material Culture
 
“Provocative, probing, and precarious, Dark Chapters pairs the poetic, literary, political, and critical responses of seventeen authors with the deceptively uncluttered yet gravid and combustible still lifes of David Garneau. This collection of pictures and words undertakes a necessary examination of the uncanny oppositions and disquieting literal and symbolic inversions that signify and animate the Indigenous history of Canada.” —Bonnie Devine
 
“Dark Chapters is a lesson in relationality and innovation. Built through conversations between Garneau’s work and artists/writers, the intergenerational contributors to this book come together in relation to Garneau and his still lives to explore the important contribution the artist has made to Canadian, Indigenous, and International art.” —Erin Sutherland

Educator Information
Table of Contents

Foreword
Nic Wilson

Still Life
John G. Hampton

Stone and Rock: I Have Failed You
Peter Morin

Wander Carried
Cecily Nicholson

On Kinship
Paul Seesequasis

Learning from Indigenous Academic Solidarity
Jeff Derksen

Knock Knock
Lillian Allen

Unsettling the Colonial Gaze
Trevor Herriot

Smudge Before Reading and The Land Does Not Forget
Tarene Thomas

Confession (after David Garneau) by Rita Bouvier

Fuse and Formal and Informal Education
Jesse Wente

The Problem with Pleasure
Billy-Ray Belcourt

Métis Realism: On the Materiality of Smoke and Relationality of Rocks
David Howes

Allies (after Hsieh and Montano)
Larissa Lai

Ally Tear Reliquary
Arin Fay

Understanding Attempted Enlightening: Between Language as Power…and Light as Life
Dick Averns

Spine
Fred Wah

The Resting Heartbeat of a Wounded Bird
Susan Musgrave

Gallery
About the Artist
About the Curator
About the Editor
About the Contributors
List of Artworks
Index

Additional Information
160 pages | 6.50" x 9.50" | 58 colour illustrations | Paperback 

A high-quality colouring book for adults and children alike, featuring forty iconic West Coast scenes and motifs based on the works of Tsimshian artist Roy Henry Vickers.

Roy Henry Vickers is celebrated for his vibrant fusion of traditional motifs with contemporary style. His art reflects the stories and spirit of the natural world, from soaring eagles to tranquil rivers and majestic landscapes. Relax, unwind and explore your creative side while enjoying the beauty of the Northwest Coast with Inspired: A Roy Henry Vickers Colouring Book, featuring 40 pages to colour, adapted from the renowned artist’s most iconic works.

With high quality paper and perforated pages, Inspired is perfect as a gift or personal escape—and an engaging way to explore art, culture and creativity.

Additional Information
88 pages | 12.00" x 9.00" | 40 b&w illustrations | Paperback 

The renowned Cree artist unmasks a whitewashed, Eurocentric history through provocative paintings full of sexuality and drama

One of Canada’s most renowned artists, interdisciplinary Cree artist Kent Monkman challenges the art historical narrative of settler cultures that colonized First Peoples from North America. He incorporates influences from the canon of European and Euro-American painting, reframing historical, contemporary and speculative future Indigenous experiences. Taking inspiration from Western artists such as George Catlin, as well as from the Old Masters, Monkman’s monumental history paintings feature white colonizers in violent conflict with Indigenous people. The depictions range from early colonial encounters to modern and contemporary clashes between Indigenous communities and uniformed police or clergy. In borrowing the visual language of his oppressors, Monkman reclaims the narrative written by Western art history about the brutalization and cultural genocide carried out against Indigenous North American communities.
History is Painted by the Victors accompanies the artist’s first major exhibition in the United States. The catalog gathers rich analysis of Monkman’s art from prominent scholars, expanding our understanding of his oeuvre and offering new insight via queer theory, historical and contemporary contexts, visual analysis and lived experience.

Kent Monkman was born in 1965 in Ontario, Canada and is a member of Fisher River Cree First Nation in Treaty 5 Territory. Monkman’s works have been exhibited at the Metropolitan Museum of Art, Montreal Museum of Fine Arts, Hayward Gallery, Philbrook Museum of Art, Palais de Tokyo and many more. He is the author of two bestselling novels, The Memoirs of Miss Chief Eagle Testickle, Volumes 1 and 2, which are based on his gender-fluid alter ego who often appears in Monkman’s work as a time-traveling, shape-shifting, supernatural being who reverses the colonial gaze to challenge received notions of history and Indigenous peoples. He lives and works in New York City and Toronto.

This book was published in conjunction with Denver Art Museum; Montreal Museum of Fine Arts.

Additional Information
176 pages | 9.50" x 12.00" | 86 Illustrations | Hardcover 

A powerful anthology uniting the voices of Indigenous women, Elders, grassroots community activists, artists, academics, and family members affected by the tragedy of Missing and Murdered Indigenous Women, Girls, and Two-Spirit people from across Turtle Island.

In 2010, Métis artist Jaime Black-Morsette created the REDress Project—an art installation consisting of placing red dresses in public spaces as a call for justice for Missing and Murdered Indigenous Women, Girls, and Two-Spirit people (MMIWG2S). Symbolizing both absence and presence, the red dresses ignite a reclamation of voice and place for MMIWG2S. Fifteen years later, the symbol of the empty red dress endures as families continue to call for action.

In this anthology, Jaime Black-Morsette shares her own intimate stories and memories of the REDress Project along with the voices of Indigenous women, Elders, grassroots community activists, artists, academics, and family members affected by this tragedy. Together they use the power of their collective voice to not only call for justice for MMIWG2S, but honour Indigenous women as keepers and protectors of land, culture, and community across Turtle Island.

Reviews
“REDress is a must-read for anyone who seeks to truly understand the hearts of those most impacted by MMIWG2S. For allies and interested citizens, this anthology shows how Canada emboldened and fostered a society to inflict genocide against Indigenous women, girls, and Two-Spirited and transgendered relatives.”—Sheila North, Former Grand Chief, Creator of hashtag #MMIW, Mother and Kookom

“REDress is a love offering to MMIWG2S and those who are intimately impacted by this epidemic.”—Cathy Mattes, curator, writer, and Associate Professor in History of Art at the University of Winnipeg

"This is a moving look at how women in indigenous communities are using art and activism to keep the the issue at the forefront, despite the lack of progress in solving or preventing the crimes.... A content warning signals that the book contains language concerning violence against women. I’d offer this to activist artists or anyone interested in justice for indigenous communities, in high school and up." - Youth Services Book Review - Stephanie Tournas, Retired librarian, Cambridge, MA 

Educator Information
Content Warning: This book's content deals with violence against Indigenous women, girls, and Two-Spirit people; genocide; death; intergenerational trauma; suicide; and residential schools. 

Big Ideas: Diverse and Inclusive Representation: Identity; Land-Based or Place-Based Learning; Social-Emotional Learning: Death, Grief, Bereavement; Social-Emotional Learning: Self Expression, Creative Writing, Art; Social Justice: Citizenship and Social Responsibility; Social Justice: Impacts of Colonization and Colonialism; Social Justice: MMIWG2S; Social Justice: Prejudice and Racism.

Edited by: Jaime Black-Morsette

Contributions by: KC Adams, Mackenzie Anderson Linklater, Marjorie Beaucage, Christi Belcourt, Judy Da Silva,  Karine Duhamel, Deantha Edmunds, Cambria Harris, Jaimie Isaac, Casey Koyczan, Crystal Lepscier, Lee-Ann Martin, Diane Maytwayashing, Cathy Merrick, Sherry Farrell Racette, Gladys Radek, Zoey Roy, Jennifer Lee Smith, and Patti Beardy.

Additional Information
168 pages | 7.00" x 10.00" | Paperback

From global art superstar Kent Monkman and his long-time collaborator Gisèle Gordon, a transformational work of true stories and imagined history that will remake readers’ understanding of the land called North America.

For decades, the singular and provocative paintings by Cree artist Kent Monkman have featured a recurring character—an alter ego of sorts, a shape-shifting, time-travelling elemental being named Miss Chief Eagle Testickle. Though we have glimpsed her across the years in films and on countless canvases, it is finally time to hear her story, in her own words. And, in doing so, to hear the whole history of Turtle Island anew. The Memoirs of Miss Chief Eagle Testickle: A True and Exact Accounting of the History of Turtle Island is a genre-demolishing work of genius, the imagined history of a legendary figure through which profound truths emerge—a deeply Cree and gloriously queer understanding of our shared world, its past, its present, and its possibilities.

Volume One, which covers the period from the creation of the universe to the confederation of Canada, follows Miss Chief as she moves through time, from a complex lived experience of Cree cosmology to the arrival of European settlers, many of whom will be familiar to students of history. An open-hearted being, she tries to live among those settlers, and guide them to a deeper understanding of the interconnectedness of all beings and the world itself. As their numbers grow, though, so does conflict, and Miss Chief begins to understand that the challenges posed by the hordes of newly arrived Europeans will mean ever greater danger for her, her people, and, by extension, all of the world she cherishes.

Blending history, fiction, and memoir in bold new ways, The Memoirs of Miss Chief Eagle Testickle are unlike anything published before. And in their power to reshape our shared understanding, they promise to change the way we see everything that lies ahead.

Reviews
"Long a persona stalking the paintings of provocative Cree artist Kent Monkman, Miss Chief Eagle Testickle steps off the canvas to tell her own story—and that of the Indigenous peoples of Turtle Island—in a two volume collaboration with Gisèle Gordon. Lavishly illustrated with Monkman’s paintings, The Memoirs of Miss Chief Eagle Testickle is at once (and seamlessly) a unique story of an even more unique deity, an exposition of nêhiyaw (Cree) beliefs and a primer in nêhiyawêwin (Cree Language), and a deeply researched history of contact, colonization, and resurgence. A full-blown remediation of the politically-charged and erotic world of Monkman’s paintings, these books educate, inspire, entertain, and leave the reader breathless."—Steve Collis, 2024 VMI Betsy Warland Between Genres Award judge

Additional Information
264 pages | 6.51" x 9.99"" | Full-colour art throughout | Paperback 

The pelt of a dog named “Mutton” languished in a drawer at the Smithsonian for 150 years until it was discovered, almost accidentally, by an amateur archivist. This book tells Mutton's story and explores what it can teach us about Coast Salish Woolly Dogs and their cultural significance.

Until now, there has been very little written about the enigmatic Coast Salish Woolly Dog, or sqʷəmey̓ in the Hul'q'umi'num language. According to Indigenous Oral Histories of the Pacific Northwest, this small dog was bred for thousands of years for its woolly fibres, which were woven into traditional blankets, robes and regalia. Although the dogs were carefully protected by Coast Salish peoples, by the 1900s, the Woolly Dog had become so rare it is now considered extinct.

Co-authored with weavers, Knowledge Keepers, and Elders, The Teachings of Mutton interweaves perspectives from Musqueam, Squamish, Stó:lō, Suquamish, Cowichan, Katzie, Snuneymuxw, and Skokomish cultures with narratives of science, post-contact history, and the lasting and devastating impacts of colonization. Binding it all together is Mutton's story—a tale of research, reawakening, and resurgence.

Reviews
“What a compelling story, reflecting a way of life, practical knowledge, artistry and change in the Pacific Northwest! Mutton, the domesticated woolly dog, represents so much more than a museum collection or a source of weaving material. Generations of breeding, learning and sharing, caring and trading are mirrored in the discovery of his pelt in a drawer at the Smithsonian. Liz Hammond-Kaarremaa and her respected Salishan co-authors and Knowledge Keepers have brought Mutton into the present, and in doing so, have given us a new and unique perspective on the complex history of this region and on the meaning of Truth and Reconciliation. The book is clearly and thoughtfully written, and supplemented with excellent illustrations. It is a ‘must read’ for anyone wishing to know more about weaving arts, dog breeds, Indigenous cultures and/or history in northwestern North America.” — Nancy J. Turner, Distinguished Professor Emerita, University of Victoria

“Conscientious and accessible, The Teachings of Mutton weaves a charming and informative history, walking through the discovery of his pelt in a museum drawer to the modern science that reveals the shape of this dog’s life. Highlighting and correcting generations of non-Indigenous misinterpretation, the intertwined histories provided by Salish knowledge keepers reveal the nuanced Indigenous sciences of dog husbandry, spinning, weaving, and the cultural significance of Woolly Dogs while telling a lively story.” — Kathryn Bunn-Marcuse, PhD, curator of Northwest Native art and director of the Bill Holm Center for

Additional Information
264 pages | 8.00" x 10.00"

A pocket-sized comic by Indigenous Voices winner Cole Pauls.

Llege zedle s_on nes_it'in (Tahltan for we see stars only at night ) is a surrealistic landscape of Tahltan shapes, culture and motifs. Originally created for the Nanaimo Art Gallery's group show "Gutters are Elastic" between July 15 to September 23, 2023, Pauls decided to expand the work into a full-length book.

Playing with the connection between land, regalia, performance and heritage, Pauls follows in the footsteps of Tiger Tateishi, Hironori Kikuchi and Michael Nicoll Yahgulanaas with his dreamlike narrative.

Educator Information
This work was created in the tradition of "silent" (wordless) comics and uses symbols, shapes, and motifs for the narrative.

Additional Information
80 pages | 4.25" x 6.25" | 80 b&w illustrations  | Paperback 

A major publication, Worlds on Paper: Drawings from Kinngait features over 150 never-before-seen original drawings by internationally renowned Inuit artists from Kinngait (Cape Dorset).

In 1990, the celebrated printmaking studio in Kinngait (Cape Dorset) transferred their complete drawings archive to the McMichael Canadian Art Collection in Ontario for safekeeping. The McMichael recently completed the digitization of this invaluable treasury of works, making it accessible to communities across the Arctic as well as to the wider public.

Worlds on Paper, an exhibition led by Inuit curator Emily Laurent Henderson, explores the profound impact and importance of drawing in Kinngait, not just as a precursor to printmaking, but as a vital and enduring discipline in its own right. This groundbreaking Inuit-led publication includes essays by Susan Aglukark, Kyle Aleekuk, Mark Bennett, Napatsi Folger, Jamesie Fournier, Janice Grey, Jonas Laurent Henderson, Jessica Kotierk, Nicole Luke, Malayah Maloney, Aghalingiak Ohokannoak, Jocelyn Piirainen, Krista Ulukuk Zawadski, and others, and explores the transition from traditional life on the land to 21st century community living.

Kinngait is renowned internationally for printmaking but an exploration of the drawings archive reveals careers previously overlooked while also allowing established artists to be seen in a new light. Dreaming Forward provides a richer understanding of the creativity that blossomed in Kinngait over four decades, as the print making studio rose to international renown. This publication animates the legacy of Kinngait Studio and its role in generating, nurturing, and promoting artists who continue to challenge expectations and provoke fresh understandings.

Additional Information
320 pages | 10.00" x 11.00" | 200 colour artwork and archival photographs | Hardcover 

Sewing new understandings.

Indigenous beadwork has taken the art world by storm, but it is still sometimes misunderstood as static, anthropological artifact. Today’s prairie artists defy this categorization, demonstrating how beads tell stories and reclaim cultural identity. Whether artists seek out and share techniques through YouTube videos or in-person gatherings, beading fosters traditional methods of teaching and learning and enables intergenerational transmissions of pattern and skill.

In Bead Talk, editors Carmen Robertson, Judy Anderson, and Katherine Boyer gather conversations, interviews, essays, and full-colour reproductions of beadwork from expert and emerging artists, academics, and curators to illustrate the importance of beading in contemporary Indigenous arts. Taken together, the book poses and responds to philosophical questions about beading on the prairies: How do the practices and processes of beading embody reciprocity, respect, and storytelling? How is beading related to Indigenous ways of knowing? How does beading help individuals reconnect with the land? Why do we bead?

Showcasing beaded tumplines, text, masks, regalia, and more, Bead Talk emphasizes that there is no one way to engage with this art. The contributors to this collection invite us all into the beading circle as they reshape how beads are understood and stitch together generations of artists.

Reviews
“An evocative, aesthetically gorgeous book that is rich in knowledge, relationality, and experience. Curated with care, rooted in artistic practice and lived experience, and embodying a polyvocal, collaborative spirit, it immerses the reader in the world of Indigenous beadwork on the prairies. Bead Talk carries teachings about decolonial love, healing and medicine, cultural knowledges, political and theoretical modes of action, gendered experience, and more. I can’t think of any other book like this—it is a gift!” — Aubrey Hanson

Educator Information
Contributors: Ruth Cuthand, Dayna Danger, Sherry Farrell Racette, Marcy Friesen, Felicia Gay, Franchesca [Fran] Hebert-Spence, Audie Murray, Cathy Mattes.

Table of Contents

Foreword – Brenda Macdougall

Who We Are

Introduction – Carmen Robertson, Judy Anderson, and Katherine Boyer

Part I: Conversations

1. Mentoring/Beading – Ruth Cuthand and Marcy Friesen

2. mîkisistahêwin (bead medicine) – Judy Anderson and Audie Murray

3. Parallel Lines Move Along Together: A Beaded Line that Connects Me to You – Katherine Boyer and Dayna Danger

4. The Power of Gathering: Revisiting the Seeds of Ziigimineshin – Franchesca Hebert-Spence and Carmen Robertson

5. Beads, Blood, and Curating Ruth Cuthand’s Art – Felicia Gay and Carmen Robertson

Part II: Essays

6. “Until We Bead Again”: The BU Beading Babe and Embodying Lateral Love and Generous Reciprocity – Cathy Mattes

7. Visiting Kin: Indigenous Flatland Beading Aesthetics – Carmen Robertson

8. If the Needles Don’t Break and the Thread Doesn’t Tangle: Beading Utopia – Sherry Farrell Racette

Afterword: Spreading the Bead Love Far and Wide

Additional Information
240 pages | 6.00" x 8.50" | 62 colour illustrations | Paperback 

An eighty-year overview of wood and argillite carving by Indigenous women artists on the Northwest Coast.

Though women of the Northwest Coast have long carved poles, canoes, panels, and masks, many of these artists have not become as well known outside their communities as their male counterparts. These artists are cherished within their communities for helping to keep traditional carving practices alive, and for maintaining the dances, songs, and ceremonies that are intertwined with visual art production. This book, and an associated exhibition at the Audain Art Museum, gathers a range of sculptural formats by Indigenous women in order to expand the discourse of carving in the region.

Both the exhibition and publication are co-curated by Dana Claxton, artist, filmmaker and head of the University of British Columbia's Department of Art History, Visual Art and Theory; and Dr. Curtis Collins, the AAM's Director & Chief Curator. Commentaries by Skeena Reece, Claxton, and Marika Swan, and interviews with artists Dale Campbell and Mary Anne Barkhouse are presented alongside more than one hundred artworks from public and private collections across North America, including several newly commissioned pieces.

Featured artists include:
- Ellen Neel (Kwakwaka'wakw, 1916-1966) - Freda Diesing (Haida, 1925-2002) - Doreen Jensen (Gitxsan, 1933-2009) - Susan Point (Musqueam, b. 1952) - Dale Campbell (Tahltan, b. 1954) - Marianne Nicolson (Kwakwaka'wakw, b. 1969) - Arlene Ness (Gitxsan, b. 1970s) - Melanie Russ (Haida, b. 1977) - Marika Swan (Nuu-chah-nulth, b. 1982) - Morgan Asoyuf (Ts'msyen, b. 1984) - Cori Savard (Haida, b. 1985) - Cherish Alexander (Gitwangak, b. 1987) - Stephanie Anderson (Wetsuwet'en, b. 1991) - Veronica Waechter (Gitxsan, b. 1995)

Additional Information
160 pages | 9.20" x 1.10" | 120 colour photos | Hardcover 

Part look-book, part memoir, and part history, this beautifully illustrated monument to a singular designer who helped inspire the growing Indigenous fashion movement is also a powerful demonstration of the enduring resonance and possibilities of Haida art.

Inspired by a discussion with celebrated Haida artist Bill Reid, Haida designer Dorothy Grant made it her life's mission to bring her culture's traditional art into contemporary fashion while adhering to the principle of Yaguudang, or respect for oneself and others. The 1989 launch of her Feastwear collection, featuring modern silhouettes hand-appliquéd with Northwest Coast formline, immediately established her at the forefront of Indigenous fashion in North America, and she has since hosted runway shows and trunk sales from Paris to Vancouver to Tokyo. Her clients include Indigenous leaders, national politicians, and global celebrities, and her garments can be found in museums and galleries around the world, including the Metropolitan Museum of Art.

Dorothy Grant: An Endless Thread is the first monograph to celebrate her trailblazing career. It features new photography of dozens of garments spanning the past four decades, modeled in studio and natural settings in Vancouver and Haida Gwaii, alongside sketches, traditional button robes and spruce-root weaving, and personal stories and reflections from Grant. Essays by Haida repatriation specialist and museologist Sdahl Ḵ'awaas Lucy Bell and curator India Rael Young place Grant in the long continuum of Haida fashion and trace the many innovations and accomplishments of her journey, and Haida curator and artist Kwiaahwah Jones, a longtime assistant to Grant, shares behind-the-scenes insights and memories. An associated exhibition, Dorothy Grant: Raven Comes Full Circle, opened at Haida Gwaii Museum in July 2024.

Educator Information
The publisher notes this work is from Dorothy Grant in collaboration with the Haida Gwaii Museum. Contributors to this work include:

• Sdahl Ḵ’awaas Lucy Bell
• Taa.uu ’Yuuwans Nika Collison
• Kwiaahwah Jones
• India Rael Young

Additional Information
168 pages | 9.44" x 10.35" | Hardcover 

Delores Churchill, Haida weaver, shares the stories of her life, her culture and the importance of passing cultural knowledge from one generation to the next. Told with humility, humour and deep respect, From a Square to a Circle is a testament to the values of her people, a technical guide to her masterful weaving skills and a gift to the reader at every point along her journey.

Part memoir, part how-to guide, this book shines light on Delores’s weaving teachers, including her strong-minded mother Selina (Ilst’ayaa), whose teachings Delores once resisted as a child. The Haida are connected to weaving through their history, which goes back thousands of years ago as shown through discoveries like the 4,000-year-old baskets at south Baranof.

Walk with Delores as she harvests cedar bark for baskets, Selina teaching “by modelling and then leaving the learner to imitate.” Learn the weaving harvest and preparation terminology. Follow the steps of how to prepare cedar bark, harvest spruce roots, and learn natural dye recipes. Photos and diagrams are visual aids that accompany the steps to Haida weaving techniques and instructions.

Having passed her skills on to hundreds of people, believing that “weaving belongs to all of us,” Delores wishes to share the knowledge of basketweaving where beginners and skilled weavers are able to express their distinct selves, just as every coastal Indigenous weaving style is unique. The love for basketweaving displayed in Delores’s writing is sure to make readers yearn to try their own hand at the craft.

Additional Information
256 pages | 8.00" x 10.00" | 240 Photographs | Paperback 

The only book on award-winning Indigenous basket maker Jeremy Frey, accompanying his first major traveling exhibition.

Frey (Passamaquoddy) is one of the most respected Indigenous basket makers working today. Descended from a long line of basket makers, his work is known for its intricate design and exquisite artistry, which reflect both traditional techniques and his own creative vision.

This catalogue considers his work from a variety of perspectives. Secord, whom Frey credits for guiding his career as the founder of Maine Indian Basketmakers Alliance, contributes a detailed biographical essay. DeSimone situates Frey’s work in the broader field of contemporary art, with a specific focus on the new video work he is making for the exhibition. Hoska focuses on Frey’s art in the broader context of Native basket and fiber arts. And Mize considers the ways in which his expanding practice registers ecological knowledge, time, and the impact of climate change.

Additional Information
160 pages | 8.85" x 11.91" | Hardcover