A collection of first-person narratives offering a vivid, nuanced look at the lived and shared experiences of Bering Strait communities in the COVID-19 era, Stronger Together is a unique collaboration between the Carrie M. McLain Memorial Museum in Nome, Alaska, and over forty community members, artists, and poets from across the Bering Strait region.
 

Sites of Conscience charts the importance of public engagement with histories, memories, and lived experiences of institutions in forging new directions in social justice with and for disabled people and people experiencing mental distress, in a context where deinstitutionalization has failed to fully recognise, redress, and repair the ongoing impacts of institutions.

So Much More Than Art reveals the fascinating practice of miniaturization in Indigenous Northwest Coast art as a subtle form of communication in the face of oppressive colonization.

In examining how the technologies of museum bureaucracy – the ledger book, the card catalogue, the database – operate through a colonial lens, Cataloguing Culture shines a light on access to and the return of Indigenous cultural heritage.

This exploration of museums as sites for representing and defining national identity encourages us to reconsider the idea of the multicultural nation.

This fascinating look at Canada’s living history museums – pioneer villages and old forts where actors recreate the past – shows how they reveal as much about Canadian post-war interests as they do about settler history.

This vibrant examination of the museum’s role as contemporary narrator of our past reveals that our perceptions of history and ourselves are shaped as much by how a museum presents information as by what information it presents.

The story of the highly complex process of of sacred objects to Aboriginal peoples from the Glenbow Museum.

A remarkable volume that makes accessible for the first time and in one place a broad selection of more than 250 years of writing on Northwest Coast Native art.

The story of a transformative visit by members of the Haida Nation to British museums housing their cultural artifacts.

An insightful examination of the complex functions of Northwest Coast art objects produced between 1922 and 1961, and a vital addition to First Nations and Canadian history.

What are the “right ways” to preserve heritage? Are the aims and purposes of museums necessarily at odds with those of First Nations? This thoughtful book explores the concept of museum conservation in light of cultural repatriation issues, and helps readers understand the complex relationship between museums and Aboriginal peoples.

Cannibal Tours and Glass Boxes poses a number of probing questions about the role and responsibility of museums and anthropology in the contemporary world.