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.
PineauE. L. (2014). From voyageurs to bush pilots: Resonance and resistance to the “cowboy” motif in Canada’s NorthWest territories. Cultural Studies, Critical Methodologies, 4(3), 232–236.
4.
PineauE. L. (2017). The flying cowboy’s daughter. In AlexanderB. K. (Chair), ‘Mommas, don’t let your babies grow up to be . . .’: Revisiting western imagery and grown-up cowboys [Plenary presentation]. May 20, 2020. International Congress of Qualitative Inquiry, Urbana, IL.
5.
RobertsonC. (2016a). Mythologizing Norval Morrisseau: Art and colonial narrative in Canadian media. University of Manitoba Press.
