Bowers, Neal, Charles L.P. Silet, and Gerald Vizenor, “An Interview with Gerald Vizenor”, MELUS (Society for the Study of Multi-Ethnic Literature of the United States), Spring, 1981, Vol. 8, No. 1, Tension and Form (Spring, 1981), pp. 41-49. Oxford University Press

Author(s): Bowers – American poet, novelist, memorist, and scholar. BA (1970) and MA (1971) Austin Peay State University, Tennessee, and Ph.D (1976) in English and American Lituraure, University of Florida. Silet – Author, critic. Professor of English, Iowa State University. Recipient of the Excellence in Honors Teaching Award from the University Honors progrem. Vizenor – Author, poet, activist. BA, New York University, MA, Harvard and University of Minnesota. Anishinaabe, White Earth Reservation.

Text: interview with Vizenor in which he talks about the contradictions in his work, how he does or doesn’t balance opposites, how he deals with contradiction, what he considered “tribal” and what he considers “universal”. He discusses whether he is an Indian poet or a poet who just happens to be Indian. What it means to see the world through the eyes of the “institution”. Translation vs. invention of Indian-ness.

Keyser, James D. “Painted Bison Robes: The Missing Link in The Biographic Art Style Lexicon”. Plains Anthropologist, February 1996, Vol. 41, No. 155, pp 29 – 52. Published by Taylor & Francis Group, Ltd.

Author: Educator, archaeologist, and author. BA (1972) University of Montana, MA (1974) University of Oregon, Ph.D. (1977) University of Oregon. Field archaeologist in Alberta, Canada.U.S. Forest Service archeaologist, Northern Region and Pacific Northwest Region.

Text: Discussion on Northern Plains biographic style art on rock, hide, and in ledger books. Use of previously created lexicon from rock and ledger art used to interpret hide and as a source for missing lexicon. Some discussion of pigments used as well as sources and processing. Sioux burned ochre.

Keyser, James D., The Five Crows Ledger; Biographic Warrior Art of the Flathead Indians, 2000, University of Utah Press.

Author: Educator, archaeologist, and author. BA (1972) University of Montana, MA (1974) University of Oregon, Ph.D. (1977) University of Oregon. Field archaeologist in Alberta, Canada.U.S. Forest Service archeaologist, Northern Region and Pacific Northwest Region.

Text: contains reproductions of ledger art by Five Crows, a Salish man, drawn between 1841 -1847. Some discussion on symbols and symbolic meaning.

Linberg, Christer, “Magical Art – Art as Magic, Anthropos, 2016, BD. 111, H. 2. (2016), pp. 601-607, Nomos Verlagsgesellschaft mbH.

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Logan, Michael H. and Douglas A. Schmittou, “The Uniqueness of Crow Art: A Glimpse into the History of an Embattled People”, Montana The Magazine of Western History, Summer, 1998, Vo. 48, No. 2, pp 58 – 71. Montana Historical Society.

Author(s): Douglas – BA Cultural Anthropology, University of Colorado, MA San Diego State University, Ph.D. Pennsylvania State University. Fieldwork in Mexico, Guatemala, Brazil, and India. Best known for wide-ranging expertise on Plains Indian culture and art. Schmittou – MA University of Tennessee, Ph.D. Anthropology Indiana University.

Text: Information on Crow color choices, symbology unique to the Crow and shared by neighboring tribes. Discussion on somatic art (body ornamentation) which signifies ethnicity. Red and blue face paint. Discussion of Crow style beadwork practiced by the Nez Percé, Flathead, and Yakima (indicating contact and transmission). Short history of the introduction of glass beads to the Crow.

More, David L. “The Creative Ability of Indian People: Authenticity as Translation”, That Dream Shall Have a Name: Native Americans Rewriting America. 2013. University of Nebraska Press.

Author: PhD. English Language and Literature/Letters University of Washington. Professor of English at University of Montana. His fields of research and teaching at graduate and undergraduate levels include cross-cultural American Studies, Native American literatures, Western American literature, Peace Studies, Baha’i Studies, literature and the environment, and ecocritical and dialogical critical theory.

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Ohnesorge, Karen, “Uneasy Terrain: Image, Landscape, and Contemporary Indigenous Artists in the United States”, American Indian Quarterly, Winter, 2008, Vol. 32, No. 1, pp 43 – 69. University of Nebraska Press

Author:  BA, BFA, English & Fine Arts, University of Tennessee, Knoxville. MA, English: Creative Writing, New York University. PhD. English, University of Kansas. Dean, School of Arts & Sciences at Ottawa University, Kansas. A poet and visual artist, her research interests include race & gender, image & text, and new technologies in teaching/learning contexts.

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Robertson, Carmen, “Land and Beaded Identity: Shaping Art Histories of Indigenous Women of the Flatland”, RACAR: revue d’art canadienne/Canadian Art Review, 2017, Vol. 42, No. 2, Continuities Between Eras Indigenous Art Histories / Continuite entre les epoques Histoires des arts autochtones (2017), pp. 13 – 29. AAUC/UAAC.

Author: Canadian writer and scholar of art history and indigenous peoples. Associate professor at University of Regina. BA in Liberal Arts, Portland State University, 1989. MA in Art History, University of Victoria, 1993. MEd in Aboriginal Adult Ed, Brock University, 2001. Ph.D in Educational Research, University of Calgary, 2005. Works to promote awareness of Aboriginal artists.

Text: Discussion on collaboration and mentoring among women of the Plains regarding beadwork production. Links between women, land, culture, and art. Symbology and matralineality. Contact with Europeans and changes in cultural and artistic expression. Gender balance and artistic practice. Anonymity and women’s work. Communal structure of art on the Plains. Collection of beadwork showing intergenerational influence. Historical beadwork. Contemporary beadwork and artists.

Rushing, W. Jackson, “Critical Issues in Recent Native American Art” Art Journal, Vol. 51, No. 3, Recent Native American Art (Autumn, 1992) pp. 6 – 14. Published by CAA

Author:  Educated at the University of Texas at Austin. Adkins Presidential Professor of Art History and Mary Lou Milner Carver Chair in Native American Art at the University of Oklahoma. His work is in several intersecting areas; Native American art, modern and contemporary art, Southwest modernism, theory, criticism and methodology, museum studies, and post-colonial and visual culture. His teaching and scholarship explore the interstitial zone between (Native) American studies, anthropology, and art history.

Text: Considers various works of art in the context of having less to do with a fictive past articulated by Columbus 500 year celebrations and are more about the reality of recent history as well as the negotiation of a more equitable future. Focuses on very recent Contemporary art and artists – lists names and bodies of work and situated them in the current discourse.

Steponaitis, Vincas P. , Samuel E Swanson, George Wheeler, and Penelope B. Drooker, “The Provenance and Use of Etowah Palettes”, American Antiquity, January 2011, Vo. 76, No. 1, pp. 81 – 106. Cambridge University Press.

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Whealdon, Bon I. and Lassaw Redhorn and Dominic Michell, “Sources of Flathead Dyes and Paints, I Will Be Meat For My Salish; The Montana Writers Project and The Buffalo of the Flathead Indian Reservation, pp 170 – 172. 2001, Salish Kootenai College Free Press and and Montana Historical Society Press.

Author(s): Whealdon – writer, historian, farmer. Located on the Flathead reservation from 1910 – 1959. Interviews of Salish elders conducted between 1922 – 1941. Most elders interviewed had lived in the Bitterroot before removal. Redhorn (1853 – 1934) – listed as Lassaw McDonald in the 1905 Enrollment. According to interviews, he went on summer buffalo hunts in the Yellowstone valley as a boy. He was 38 years old when the Salish were forcibly removed from the Bitterroot valley. Michell – probably Dominic Michell Finley (1868 – 1929), interpreter for Chief Charley Michell. Dominic was 23 years old when the Salish were forcibly removed from the Bitterroot valley.

Text: Discusses uses for dyes and paints (skins, robes, bags, and other craftwork as well as body and face). Totemic and ritual meanings of various colors. Sources for various dyes and pigments. Specifically talks about the vermillion mine near Helena, MT, which was in use prior to Contact.