This essay is a critical familial biography that addresses the ongoing commodification and exploitation of Indigenous art through my mother’s private collection of original Ojibwe paintings. I explore the complexities of her decades-long relationship with Norval Morrisseau, founder of the famed Woodland Cree School, through the lens of three critical “framings”—preservation, provenance, and piracy—and the differentiated meanings and cultural power these terms signify for the artist and the curator.

中文翻译：

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保存，出处，盗版：（重新）构筑土著艺术

这篇文章是一部重要的家族传记，通过我母亲的私人奥吉布威原始绘画作品集，探讨了正在进行的商品化和对土著艺术的利用。我通过三个关键的“框架”（保存，出处和盗版）以及与这些术语所代表的不同含义和文化力量，探讨了她与著名的伍德兰克里学校的创始人诺瓦尔·莫里索（Norval Morrisseau）长达数十年关系的复杂性。艺术家和策展人。