Register for Conference Conference Information Self Guided Tours Honor Award Recipient Board Nominations 2001 Conference Site Allan Houser...

Newsletter Volume XII, No.4 July 1999 PRE AND POST CONFERENCE TOUR INFORMATION The Tour Committee (Kathleen Ash-Milby, Kate Duncan and Barbara Hail) are pleased to announce the following travel and collection exploration opportunities for NAASA members. Pre-Conference Tour: Royal British Columbia Museum Wednesday, October 13 Sign-up for a free guided "behind the scenes" tour of the Royal British Columbia Museum's Ethnology Collection. This collection includes 13,000 artifacts which are located on two floors of the Fannin Building located at the corner of Government and Belleville Streets in downtown Victoria. The Museum is an easy 10-15 minute walk and an even shorter harbor taxi ride from Ocean Pointe Resort. The greatest numbers of artifacts are from coastal First Nations with a much smaller number being from the interior peoples. The largest collections are Kwakwaka'wakw (2,127), Nuu-chah-nulth (1,918), Haida (1,864), Coastal Salish (1,541) and Tsimshian, i.e., Nisga'a, Gitxsan, Tsimshian (1,011). The smaller coastal collections are Nuxalk (211) and Tlingit (114). There are 1,189 Interior Salish artifacts, 755 Athapaskan pieces and 351 Ktunaxa (formerly Kootenay) artifacts. Each tour will be approximately 1 hour in length and is limited to 10 participants. The tours will take place on Wednesday, October 13, 1999 at 9:00 AM, 11:00 AM, 1:00 PM and 3:00 PM. You will meet your guide in the lobby to the Fannin Building (curatorial tower) approximately 15 minutes before each tour begins. Pre-registration is required. Please indicate a first and second choice of preferred tour times and your particular material culture interests on the conference registration form. You will be notified the time of your tour once your conference registration is received. Since space is limited so requests will be accepted in the order they are received. Post-Conference Tour: Vancouver Sunday, October 17 This tour will depart from the Ocean Pointe Resort at 7:30 am and will take members by ferry and coach to Vancouver. The first stop will be the Vancouver Museum to see the exhibition, Through My Eyes: Northwest Coast Artifacts through the Eyes of Contemporary First Nations People. Twenty First Nations Elders, artists and business professionals present their perspectives on Northwest Coast artifacts which they have selected from the Vancouver Museum's extensive collection of Northwest Coast artifacts. Their direct, experience-based reflections and observations are used as the text in this exhibition. After lunch in the museum cafe (meals not included in the tour fee), members will proceed to the University of British Columbia Museum of Anthropology (MOA). The MOA is renowned for its architecture, totem pole displays and extensive open storage system which allows visitors to view the entire collection. On display will be two temporary exhibitions, Objects of Intrigue: Celebrating the Museum's 50th Anniversary and Attributed to Edenshaw: Identifying the Hand of the Artist. The latter features jewelry, argillite, wood carvings and basketry by Charles and Isabella Edenshaw in the MOA collection. The deadline to sign-up for this tour is September 16, 1999. Please note that there is a minimum of 23 people who must register for this tour to take place. If you sign-up and the tour does not reach the minimum number of participants you will receive a full refund. In addition to these organized tours there are also many other opportunities that NAASA members might wish to pursue while they are in the Northwest. For an information packet you can contact Bill Mercer at the Portland Art Museum. For additional information you can contact Kate Duncan in either Seattle or Tempe. She will be in Seattle until August 15 at 206-784-5037 or Tempe from August 18 - October 7. E-mail at both locations is kate.duncan@asu.edu PRELIMINARY PROGRAM Wednesday, October 13 Pre-conference Collection Tours, Royal British Columbia Museum 3:00-7:00 p.m. Conference Registration, Ocean Pointe Resort 7:00-10:00 p.m. NAASA Welcome Reception, Ocean Pointe Resort Thursday, October 14 7:00 a.m. - 5:00 p.m. Conference Registration 8:00-8:30 a.m. Coffee/tea service 8:30-9:00 a.m. Greetings/announcements Colleen Cutschall, NAASA President 9:00-9:30 a.m. Keynote Address: Wayne Suttles, Portland State University, Professor Emeritus Cultural Essentialism and the Arts of the Northwest Coast 9:35-10:45 a.m. Plenary Session: Nuu-chah-nulth Art History, Part I Session Organizers: Martha Black and Alan Hoover, Royal British Columbia Museum The arts, ceremonies and histories of the Kwakwaka'wakw and Haida Nations have been privileged in ethnographic studies of the Northwest Coast. Anthropologist Wayne Suttles has shown that this cultural essentialism, which positions one culture as the norm and others as somehow derivative or marginal in relation to it, is a factor in the historical lack of recognition of Salish art. The same can be said for the arts of other linguistic groups. This session will focus on Nuu-chah-nulth art and its relationship with other Northwest Coast art traditions. Martha Black and Alan Hoover, Royal British Columbia Museum, Introduction. Martha Black, Royal British Columbia Museum, Nuu-chah-nulth Iconography. Steven C. Brown, Seattle Art Museum, Flowing Traditions: The Appearance and Relations of Nuu-chah-nulth Visual Symbolism. 10:45-11:00 a.m. Break 11:00 a.m. - 12:25 p.m. Concurrent Session A: Nuu-chah-nulth Art History, Part II Session Organizers: Martha Black and Alan Hoover, Royal British Columbia Museum Karen Duffek, Independent Scholar, Tla-kisk-wha-to-ah, Stands with his Chiefs. Alan Hoover, Royal British Columbia Museum, Lightning Snakes and Sea Serpents: Punctate Designs on Whaling Harpoon Heads. Aldona Jonaitis, University of Alaska Museum, Collecting the Yuquot Whaler's Shrine. Concurrent Session B: Indigenous Arts and the Politics of Possession, Part I Session Organizer: Tressa Berman, Arizona State University West This session explores the relationship between indigenous arts as forms of cultural expression, and the expropriation of indigenous symbols and motifs for art production, sale and non-indigenous use. Since the passage of NAGPRA, concerns have emerged both within and outside museums with respect to legal concepts of cultural property and intellectual property and their application as a means to protect indigenous knowledge and symbols. Given the current global debates about unauthorized mass reproduction of indigenous symbols in consumer goods and the technological proliferation of images on the Internet, this session provides a timely look at how existing copyright and intellectual property laws protect or fail to protect indigenous knowledge and images. Tressa Berman, Arizona State University West, Indigenous Arts: Up Against the Law. Jennifer Kramer, Columbia University, The Sale and Repatriation of the Nuxalk Echo Mask: Appropriation or Revival? Lea McChesney, New York University/University of Missouri-Kansas City, Artwriting and the Industrial Re-Production of Pueblo Pottery: The Case of American Indian Art Magazine. Cynthia Chavez, University of New Mexico, Negotiated Representations: Pueblo Artists and Culture. 12:25-1:40 p.m. Lunch 1:40-3:25 p.m. Concurrent Session A: Indigenous Arts and the Politics of Possession, Part II Session Organizer: Tressa Berman, Arizona State University West Aleta Ringlero, Arizona State University, The End of the Trail?: The (Re)Appropriation of Fraser's Image in American Indian Art. Suzanne Newman, University of New Mexico, Not in My Backyard: The Controversy over Bob Haozous' Cultural Crossroads at the University of New Mexico. Colleen Cutschall, Brandon University, Fahrenheit 451 Due North. Peter Welsh, Arizona State University, All the Rage: Rock Art in Art and Commerce. Vivien Johnson, Macquarie University, How Deadly is your T-Shirt?: Australian-Native American Parallels and Complementarities in the Struggle for Indigenous Rights to Cultural and Intellectual Property. Concurrent Session B: Images Through Time: Visual Traditions in the Great Lakes Session Organizer: Ruth Phillips, University of British Columbia Museum of Anthropology Western academic disciplines normally subdivide the visual traditions of Native North Americans into three epochs: pre-contact, historic and contemporary. This subdivision has worked to de-emphasize interrelationships among objects produced in different epochs and to obscure discourses of continuity articulated within Native communities. Contrasts in expressive media also work against the recognition of iconic and conceptual relationships. Whereas, for the pre-contact period we generally have only objects made of non-perishable materials, the historic period comprises objects made of both indigenous and trade materials and the contemporary period encompasses traditional Western fine arts formats as well as new media. This session brings together discussions of Great Lakes visual traditions in all three epochs in order to examine the ways in which Native artists across a long span of time have responded both to a common environment and to the oral, visual and spiritual traditions they have inherited. It will explore both continuity and discontinuity as well as the continuing process of making meaning of the inherited past. It will also invite reflection on the problems and benefits of interdisciplinarity produced by the juxtaposition of archaeology, art history, art practice and indigenous narrative. Ruth Phillips, Introduction. Christopher Carr, Independent Scholar, Continuity and Change in the Representation, Use and Meaning of the World Axis in Pre-Contact Eastern Woodlands Material Culture. Amy Trevelyan, Gettysburg College, Flashbacks: Points of Continuity and Difference in the Art of the North and Southeastern Woodlands. Trudy Nicks, Royal Ontario Museum, Dr. Cinader and the "Canadian Indian Renaissance". Ahmoo Angeconeb, Artist, The Use of Continuous Imagery that Spans Through all Anishnawbe (Ojibwa) Time. Concurrent Session C: Open Session I: Old Collections, New Insights Mariana Mace, Jensen Arctic Museum, Tracking the Souvenir Trade. Margaret Mathewson, Institute of Primitive Technology, California in Transition: Clues from Mid 19th Century California Basketry Collections. Chuna McIntyre, Independent Scholar, The Knowledge to Bring Back: The Restoration of the Central Yup'ik Masks in the Thaw Collection. Sally McLendon, Hunter College and Graduate School, City University of New York, The Importance of Labels and Photographs in Recovering the History of Early California Indian Material in European Museums. Imre Nagy, Tornyai Janos Museum, Low Forehead, the Cheyenne Shieldmaker: Documenting and Undocumented Dreamer-Artist. 3:25-3:45 p.m. Break 3:45-5:30 p.m. Concurrent Session A: Painting Outside the Paradigm: Idiosyncratic Indian Painters of the Early Modern Era Session Organizers: Kathleen Ash-Milby, National Museum of the American Indian and Sam E. Watson III, Central College Just as the history of Euro-American painting has been defined largely by the stylistic hegemony of one particular region, so too has the history of Native American painting been understood. While the paradigmatic Indian painting style is that which was championed by arts instructors in Santa Fe and Oklahoma, this session seeks to focus upon those Native American painters who worked outside the mainstream Indian arts centers and whose work correspondingly defies easy categorization as "Indian painting". In an effort to understand Native American painting on a scale beyond the regional, this session deals with painters from a wide variety of geographic locations who produced works in the nineteenth or early twentieth century. At issue is an examination of the ways in which artistic and ethnic identity is inscribed in paintings which seem to be devoid of those stylistic signifiers of "Indianness" which have come to be associated with traditional Indian painting. William C. Sturtevant, National Museum of Natural History, The Early Iroquois Realist Style. Elizabeth Hutchinson, University of New Mexico, The Politics of Style: Aestheticism and Pan-Indianism in the Work of Angel DeCora (Winnebago/Hochunk), 1900-1915. Bill Anthes, University of Minnesota, Yeffe Kimball: From Indian Space to Outer Space. Molly Lee, University of Alaska Museum, Betwixt and Between: The Watercolors of James Kivetoruk Moses. Sam E. Watson III, Central College, Marketing the Hunt: The Wildlife Paintings of Clarence Monegar. Concurrent Session B: Current Research on Northwest Coast Art, Part I Session Organizer: Robin Wright, University of Washington This session was invited by the NAASA board. Its purpose is to explore the current state of art historical research on the Northwest Coast. Andrea Laforet, Canadian Museum of Civilization, Woven Bark Basketry and Geometric Design on the Northwest Coast. Dawn Glinsmann, University of Washington, Haida Basketry Attribution: Specific Case Studies. Rebecca Andrews and John Putnam, University of Washington, Makah Trinket Baskets: A Unique Enterprise. Megan A. Smetzer, Williams College, The Tlingit Octopus Bag: Traversing the Boundaries of Culture. Kathryn Bunn-Marcuse, University of Washington, Reflected Images: The Use of Euro-American Designs of Northwest Coast Silver Bracelets. 6:30-8:00 p.m. Reception Royal British Columbia Museum, First People's Gallery FRIDAY, OCTOBER 15 8:00 a.m. - 12:00 p.m. Registration 8:15-8:45 a.m. Coffee/tea service 8:45-9:00 a.m. Announcements Colleen Cutschall, NAASA President 9:00-10:45 a.m. Plenary Session: Nuu-chah-nulth Art Today Session Organizers: Martha Black and Alan Hoover, Royal British Columbia Museum Nuu-chah-nulth art is a unique Northwest Coast tradition with distinctive iconographic and stylistic characteristics. This session brings together the foremost contemporary practitioners of tradition to discuss the importance of culture, history, language, family, personal experience, training, media and the market in the art today. Speakers include: Greg Colfax (Makah) Joe David (Tla-o-qui-aht) Ron Hamilton (Opetchesaht) Tim Paul (Hesquiaht) Arthur Thompson (Dididaht) 10:45-11:00 a.m. Break 11:00 a.m. - 12:25 p.m. Concurrent Session A: Nuu-chah-nulth Art Today, (Continued) Session Organizers: Martha Black and Alan Hoover, Royal British Columbia Museum Concurrent Session B: Recent Work with Historic Collections Session Organizer: Steven L. Grafe, Mesa Verde National Park The majority of historic Native American items in contemporary museum collections are objects whose provenance is unknown. Many can be associated with latter-day donors, but the details of their creation and early history is now lost. By necessity the academic framework that has defined how Native-made objects are viewed and interpreted has generally relied on applied "circa" dates and assumed tribal attributions based on stylistic evidence. When performed by competent and careful individuals, the application of such associations may appropriately be viewed as connoisseurship. Unfortunately, the practice may also disguise the true genesis and identity of an item. This session is an opportunity for individuals working with well documented historic collection to share results of recent research. Steven L. Grafe, Mesa Verde National Park, The E.M. Hopkins Collection at the Pitt Rivers Museum. Mary Schlick and Francine Havercroft, Maryhill Museum of Art, Welawa-Underwood Collection: A Native Family's Gift. Judy Hall, Canadian Museum of Civilization, The Jenness and Stefansson Collections of Copper Inuit Clothing at the Canadian Museum of Civilization. Judy Thompson, Canadian Museum of Civilization, James Teit's Tahltan Collection at the Canadian Museum of Civilization. 12:25-1:40 Lunch 1:40-3:25 Concurrent Session A: Contemporary Native American Self-Portraits, Part I Session Organizer: Zena Pearlstone, California State University at Fullerton Self-portraits are constructions of identity, arguably the most revealing artistic statements, in which an artist melds a personal perception with a public image. They speak to how artists position themselves in society and are, as well, historical documents. Renaissance artists, for example, reflected their change of class by representing themselves as elegantly robed members of the elite. Only after their new status was accepted were they comfortable showing themselves with the paraphernalia of their craft. In the closing decades of the twentieth century many contemporary Native American artists-Michael Kabotie, Edna Jackson, Jesse Cooday, Joe Fedderson, Jimmie Durham to name a few-provide images that express the duality of their lives, their existence in two worlds. What do individual works tell us about artists' situations? As a group, can they be distinguished from self-portraits of Europeans or Euro-American artists, either past or present, or from African or Asian artists, or others? Zena Pearlstone, California State University at Fullerton, Introduction. Rosemary Lonewolf, Arizona State University, Techno Tewa. Marilee Jantzer-White, Independent Scholar, Steve Premo. Allan J. Ryan, University of Victoria, Saving Face/Changing Face: The Many Self-Portraits of Carl Beam. Kate Morris, Columbia University, Jimmie Durham's Self Portrait Pretending to be Rose Levy. Concurrent Session B: Will the Real "Making Medicine" Please Stand Up?: A Workshop on Fort Marion Authorship. Session Organizer: Candace Greene, National Museum of Natural History The Southern Plains artists confined at Fort Marion, Florida, in the 1870s produced a rich body of artwork covering a wide range of subjects. Hundreds of drawings are known and more are constantly coming to light. To achieve their full interpretive potential, however, these works must be clearly linked to individual artists. Many books of drawings are inscribed with names, and it would appear to be a relatively simple matter to attribute undocumented works by comparison. However, there are problems with interpreting the inscriptions, and works by apparently different hands are often associated with the same name. Do inscriptions represent the artist or the subject of the drawing? Are some names recorded in error? Do some books include work by several artists? This workshop is planned as a forum for a systematic review of the documentation and stylistic consistency of a selected set of Fort Marion works in public collections. It will consist of a half day of visual examination and intense discussion by a small panel of scholars noted for their knowledge of Fort Marion art or their wider experience in artistic attribution. Panelists: Janet Catherine Berlo, University of Rochester Bill Holm, Emeritus, University of Washington Imre Nagy, Tornyai Janos Museum Joyce Szabo, University of New Mexico Concurrent Session C: Open Session II: Contemporary Expressions Christine Burke, Red Cloud Heritage Center, Contemporary Lakota Ledger Art: Holy Rosary's Stations of the Cross. Alexa Fairchild, University of British Columbia, Humour in Contemporary Canadian Native Art: Shelley Niro and Lawrence Paul Yuxweluptun. Catherine S. Fowler, University of Nevada, Reno, Willows with Beads: Weaving Contemporary Washoe and Northern Paiute Beaded Baskets. Nelson H.H. Graburn, University of California at Berkeley, Materials and Aesthetics in Canadian Inuit Art. 3:25-3:45 Break 3:45-5:30 Concurrent Session A: Contemporary Native American Self-Portraits, Part II Session Organizer: Zena Pearlstone, California State University at Fullerton Rebecca J. Dobkins, Willamette University, Joy in the Flames: The Self-Portraits of Rick Bartow. Joy Gritton, Morehead State University, Lucita Woodis: Self-Portraiture as a Healing Process. Charlotte Townsend-Gault, University of British Columbia, Self Representations of James Luna. Michael Kabotie, Independent Scholar, Self-Portraits. Kathleen Ash-Milby, National Museum of the American Indian, Native New Yorker: Bonita Wa Wa Calachaw Nunez in Self-Portraits. Concurrent Session B: Will the Real "Making Medicine" Please Stand Up? (Continued) Session Organizer: Candace Greene, National Museum of Natural History Concurrent Session C: Yes, There is a Word For It: Educating the Educators about American Indian Art and Culture Session Organizer: George H.J. Abrams, The Yager Museum, Hartwick College Defining what comprises "art", either within the strict confines of Western definitions of fine art, or a more inclusive definition encompassing traditional art expression, has been an ongoing debate among scholars of American Indian art. The session presented here will address this definition, but will further discuss how each panelist approaches audiences of educators and students with this discussion and the stereotypes and misconceptions about American Indian art that often accompany this educational process. George H.J. Abrams, The Yager Museum, Hartwick College, The Real and the Surreal: Contemporary Iroquois Art. JoAllyn Archambault, National Museum of Natural History, Art and Craft- The Perennial Dialogue as Seen by Modern Plains Indians, Some of Whom Create ART. Twig Johnson, Montclair Art Museum, Educating the Educators: Is It Possible? Beatrice Medicine, Independent Scholar, Lakota Expression of ART. Gloria Cranmer Webster, Independent Scholar, Discussant 5:30-6:00 Break with Refreshments 6:00-7:30 NAASA Business Meeting SATURDAY, OCTOBER 16 8:15-8:45 Coffee/Tea Service 8:45-9:00 Announcements Colleen Cutschall and NAASA President-Elect 9:00-10:45 Concurrent Session A: Negotiating Native American Performance Art in Public Spaces Session Organizer: Jolene Rickard, State University of New York at Buffalo This session will consider the space that "performance art" occupies within contemporary Native American art-making and criticism. The artificial divide between theatrical and visual space historically has negatively impacted the way Native American art has been understood. The site of ceremony has previously been dissected to fixate the academy on the decontextualizing object. This panel will seek to establish an intellectual link between the practice of ceremony and contemporary Native American art-making practices. According to Native American tradition, ours is a participatory culture. The issue of how tradition functions within the performance space will be discussed. This discussion is based on the observation that a significant number of Native American artists have opted to work as "performance" artists. Is it a trend, or does it have the potential to energize Native "traditions"? Additionally, paradigm shifting text like Aldona Jonaitis' Chiefly Feasts, provide insight to push the discussion further. Issues to be addressed include the translation of traditions to performance art, the difference between cyberspace and the impact of this work on the art world, marginalized or mainstream. Judith Ostrowitz, Independent Scholar, Dancing as Clan, Nation and World-System at Celebration '98. Paul Chaat Smith, Independent Scholar, Ceremonies of the Horseman. Robin Franklin Nigh, Independent Scholar, The Use of Time and Ceremony in the Performances of James Luna. Skawennati Tricia Fragnito, Baniff Arts Center, The Internet as a Performance Space. Jolene Rickard, State University of New York at Buffalo, Performance Art Counters Cultural Dissection. Concurrent Session B: Current Research on Northwest Coast Art, Part II Session Organizer: Robin Wright, University of Washington Silvia Koros, University of Washington, Royal Expectations: Princess Tom and the Alaska Tourist Trade, 1885-1910. Steve Henrikson, Alaska State Museum, Rudolf Walton and the Arts of Acculturation. Aaron Glass, University of British Columbia, Cultural Salvage or Brokerage?: The Emergence of Northwest Coast Art and the Mythologization of Mungo Martin. Kimberly Phillips, University of British Columbia, Kla-How-Ya from Totem Pole Land: British Columbia's Construction of a Distinctive Reality. Barbara Brotherton, Western Michigan University, The Contemporary Native Arts Scene in the Puget Sound Region. 10:45-11:00 Break 11:00 a.m. - 12:25 p.m. Concurrent Session A: Critical Issues in Teaching Native American Art Session Organizer: Kate Morris, Columbia University Given the lively discourse on textbooks and Native American art at the 1997 NAASA conference, the time appears right for ongoing dialogue on issues related to the teaching of Native American art history. Members of NAASA who currently hold teaching positions run the gamut from itinerant "have slides will travel" lecturers, through junior faculty, to chairs of graduate programs at major universities. Our members split their time between departments of art history, Native American studies, museum studies, fine arts and many more. We propose this as the first of a series of roundtable discussions at NAASA meetings, to address the issue of the survey course in Native American art history. Is there already an established canon of works that needs to be considered or reconsidered? What pedagogical frameworks commonly operate in such courses? How do entry-level courses differ when conceived as a singular offering rather than a foundation for subsequent upper-division courses? What support materials are crucial to the effective teaching of a survey course and how might they be obtained? What resources are currently available on the Internet, through bookstores, or visual resource suppliers? Panelists: Victoria Wyatt, Victoria University Mary Longman, Victoria University Denise Smith, Savannah College of Art and Design Catie Cadge, Southern Oregon University Concurrent Session B: Open Session III: Selling and Showing Native American Art Martine Fournier, Concordia University, The Appropriation of the American Flag by Native American Artists. Karl Hoerig, University of Arizona, Making a Market: Native American Artists under the Palace Portal. Traci Morris, University of Arizona, Native Representations: Native Reflections on Museums. Nancy Parezo, University of Arizona, Native American Art on the Auction Block. 12:25-1:40 Lunch 1:40-3:25 Concurrent Session A: Documentation: Integrating Contemporary Native Voices Session Organizers: Joan Lester, The Children's Museum, Boston, and Cath Oberholtzer, Trent University As art historians and anthropologists, we are all dependent on documentation to guide us in establishing a context and a chronology for the works we are studying. And yet, we are often confronted by discrepancies in the collected information; inaccurate or inadequate notions, permanently lost information, changing tribal names and geography, and even obvious unfounded assumptions. From the earliest collecting periods to the recent past, native perspectives on context and chronology were often ignored. Only now in the very late twentieth century are the voices and insights of contemporary native people becoming an integral part of the documentation process. This panel will focus on native collaboration as an added voice in recontextualizing the unknowns and the critical role that contemporary native people are playing in expanding and refining past information. Following the formal papers there will be a roundtable discussion designed to encourage both panelists and members of the audience to share their own experiences and propose suggestions for solving documentation puzzles. Joan Lester, The Children's Museum, Boston and Stan Neptune, artist, Penobscot Root Clubs: Investigating a Valued Cultural Tradition. Marcia G. Anderson, Minnesota Historical Society, Building on the Legacy of Experts. Diana Pardue, Heard Museum, The Human Element: Relying on Interviews in Object Analysis. Carolyn Kastner, Stanford University, Weaving an Historical Narrative form Oral and Archival Threads. Cath Oberholtzer, Trent University, Who Benefits? The Anonymity of Native Artists in Documented Collections. Concurrent Session B: Spirit Capture: Who's Behind the Camera? Session Organizers: Margot Blum Schevill, San Francisco Airport Museums and Cassandra Price, Independent Scholar Still photography has introduced the public to Native Americans. These photographs, most of them taken by non-Natives, have influenced the general perception the public holds of Natives. Who has the right to choose the subject? Who has the right to interpret the images? Should artistic expression be controlled by the photographer alone, by the individual subjects, or by the native community? Who has the right to disseminate or withhold the images? The roles and responsibilities of photographers, both Native and non-Native; researchers, publishers; subjects of the images; and tribal councils will be explored. Margot Blum Schevill, San Francisco Airport Museums, The Camera and Before: Images of Native Americans by Native and Non-Native Artists and Photographers from the Nineteenth to the Early Twentieth Century. Margaret Dubin, Stanford University, Contemporary Native American Artists and the Legacy of Photographic Colonization. Jeffrey J. Foxx, Photographer, Confessions of a (Brooklyn Jewish) Gringo Ethnographic Photographer. Catherine Mattes, Winnipeg Art Gallery, Through the Eyes of the Subjects: Sheila Spence's Portrait of Neighborhood 6:30-9:30 Banquet, Royal British Columbia Museum Exhibition: HuupuKwanum: Treasures of the Nuu-chah-nulth Chiefs