Kahentinetha Horn, Kanienʼkehá꞉ka activist and model, speaks to the press during the constitutional Charter of Human Rights discussions underway in February, 1968 in Ottawa, in which the drafting of a Canadian Constitution was being discussed by the Liberal Government. First Nations, Metis and Inuit were totally excluded from the talks. Kahentinetha spoke to the press on this exclusion. | CBC Archives
‘Princess White Deer (Esther Louise Georgette Deer), Mohawk, on stage, likely in Paris, 1920s, I think of Anishinaabe scholar Gerald Vizenor’s comments on the ‘colonial striptease’ as a way of overturning ‘simulations,’ of unveiling manifest destiny’s supremest desires, of teasing colonial assumptions, and of the contemporary work of Kent Monkman. Like her contemporary Josephine Baker, she, using art as a liberating dance. An assertion of survivance, not a submission. Paris Notes 23.
Digging through, or reclaiming archives or museum objects, will not save us, nor can it recover what’s gone, or liberate ourselves from tropes and stereotypes, or point a path forward, at best, it’s a singular or collective expression of something that’s forever gone, a fleeting expression of selective memory, perhaps a chance to attach a name, a moment, a kinship, but ultimately it can never be full circle, there is no reclamation, but maybe, perhaps, a momentary sense of (RE) connection, an empathy with ghosts, a DANCE with past ghosts. 07.02.2026 Paris notes, PS
Deeply saddened to hear of the passing of Cris Derksen, internationally renown Indigenous musician and composer, in a tragic vehicle accident in northern Alberta, returning from her father's funeral. A beautiful soul and musician. Such a loss.
Flea’s striking archival photo of Shahin Badiyan, mother of Melody Ehsani, his wife, taken in Iran in the 1960s, just prior to the family going into exile. A tribute to Persian women and resistance, and a great cover. Flea assembles a great band for this jazz funk fusion, and if it leads to a new crowd discovering Funkadelic, I’m all for it.
Kodachrome slides photographed in 1956 or 1957 on the Piapot First Nation, Saskatchewan. Woman with a child. Man beside Chief Piapot cairn. From the collection of Richard Johnston, an ethnographer and photographer. 📷 Richard Johnston | Canadian Museum of History
I was taken by Dyani White Hawk’s ‘Infinite We,’ it commands its space. ‘For this technique, glass is fused to copper tiles using the intense heat of a kiln. The artist looked to her extensive bead library for color inspiration. The hue of each chosen bead was translated into custom-made glass.” (3 metres, 10 ft high, 5 ft diameter). @remaimodern in Saskatoon, Canada.
“This is the magic that Paul brings, making a case for the strength of Indigenous communities: the importance of family ties and friendships, of life lived close to the land and seasons, of belonging. There is a richness here.’ - Sarah Milroy, Executive Director and Chief Curator of the McMichael Canadian Art Collection
People of the Watershed: Photographs by John Macfie, opens May 09 to June 27 at The Art Gallery of Sudbury, Sudbury, Ontario. | Image: Mrs. Duncan Gray and her daughter untangle and clean a gill net at Fort Severn, Ontario in 1955. (Photo: John Macfie)
SONY's 2026 Photographer of the Year Awards: 'Citlali Fabián, 37, a photographer and visual artist from a Zapotec Yalalteca community in Oaxaca who now lives in London, won the top professional prize for “Bilha, Stories of My Sisters” — a series that spotlights eight female Indigenous activists and artists by blending portraits with digital illustrations.'
Boy in cowboy hat with saddle. Photographed on the Rocky Boy Reservation, Montana, c.1930s. Boy's name and photographer unknown.
Montana State University-Northern
