Glass bead core. The piece is long, thin and tubular, green and blue in colour with a shiny, unfaceted surface, and a small hole bored through the centre.

Quill loom. A piece of willow wood is bent into a bow to support the weaving. At one end is attached a short strip of moosehide held in place by a pin topped with a red plastic ball. To the hide is sewn several cotton threads. Near their opposite ends, the threads pierce a thin rectangle of cardboard that keeps them separated; they are then tied to the other end of the wood. Woven into the threads are porcupine quills dyed multiple colours, creating cream-coloured diamonds on a background of alternating areas of light green, dark pink, and yellow. Borders of white and yellow line each side of the weaving. The quills have not been trimmed.

Quill loom. A piece of willow wood is bent into a bow to support the artwork being created. At one end of the willow is attached a short strip of moosehide to which is sewn several cotton threads. Near their opposite ends the threads pierce a small rectangle of cardboard to keep them separated, and are then tied to the other end of the willow. Woven into the threads are porcupine quills dyed multiple colours, creating patterns of 'X's and diamonds on a cream-coloured background. The quills have been cut to a length of approximately 1 cm at the back of the weaving.

Necklace made of light brown and grey-brown seeds, with three groups of two black and one red seeds at sides and back. Piranha lower jaw with ten teeth hangs at the bottom middle, plus one dangling pendant with a "huayruro" red seed and small beads in red, black, white and turquoise.

Necklace of black seeds on string, with 16 large monkey teeth arranged between the seeds at even intervals of the lower half.

Cone shaped net weight with hole for suspension at tip, made of stone. Well polished. Broken.

Small net weight, made of a light-grey stone. Grooved for tie. Unbroken.

Vase that has a wide opening at the top, then tapers slightly and widens near the middle, and tapers towards the base. Decorated with floral arabesque patterns in horizontal bands around the outside surface. (Pair with B580 b.)

Osuitok Ipeelee created this lively print of four musk oxen racing across the frozen tundra. It was part of the first graphics collection produced by Cape Dorset Graphics of the West Baffin Eskimo Cooperative, an organization started by James Houston (an artist and Northern Services Officer of the Canadian government) in 1959 to secure recognition of Inuit artists and economic opportunities for Native people. The prints of the collection were produced by an Inuit committee from drawings submitted by Native men and women. The first exhibition of thirty-nine prints toured Canada and the United States to great critical acclaim, leading to a continuation of the printmaking program, which is still active today.

What is Native American art and who is a Native American artist? The artist Fritz Scholder referred to himself as a non-Indian Indian, someone who never felt the pull of two different cultures. With this lithograph series he challenges popular stereotypical depictions of Indians as stoic, noble, pure, and the embodiment of wisdom. Instead, he offers an amorphous human form, showing only a scruffy face with an open mouth, though the hint of a warrior breastplate, the wrapped braids, and the sharply angled feather suggest a Native American identity. The figure’s tightly wrapped blanket and his turned pose seem to reject empathy from the viewer.