11 From “Naturalized Invention” to the Invention of a Tradition: The Victorian Reception of Onkwehonwe Beadwork

Chapters in this book

1. Front Matter i
2. Contents v
3. List of Illustrations vii
4. Acknowledgments xvii
5. Preface xix
6. Introduction
7. Professionalism as Critical Concept and Historical Process for Women and Art in Canada1 3
8. Professionalizing Art
9. “What Would He Have Us Do?” Gender and the “Profession” of Artist in New Brunswick in the 1930s and 1940s 55
10. The Rewards of Professionalization Alice Lusk Webster and the New Brunswick Museum, 1933–53¹ 83
11. “A Story of Struggle and Splendid Courage” Anne Savage’s CBC Broadcasts of The Development of Art in Canada1 106
12. Careers for Women
13. Hannah Maynard Crafting Professional Identity 135
14. From Amateur to Professional The Advertising Photography of Margaret Watkins, 1924–28 168
15. “I Weep for Us Women” Modernism, Feminism, and Suburbia in the Canadian Home Journal’s Home ’53 Design Competition1 194
16. Kathleen Daly’s Images of Inuit People Professional Art and the Practice of Ethnography 225
17. The Girls and the Grid Montreal Women Abstract Painters in the 1950s and Early 1960s 259
18. The Limits of Professionalism
19. “I Want to Call Their Names in Resistance” Writing Aboriginal Women into Canadian Art History, 1880–1970 285
20. From “Naturalized Invention” to the Invention of a Tradition: The Victorian Reception of Onkwehonwe Beadwork 327
21. Professional/Volunteer Women at the Edmonton Art Gallery, 1923–70 357
22. “Marjorie’s Web” Canada’s First Woman Architect and Her Clients1 380
23. Contributors 401
24. Bibliography 405
25. Index 433