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Copyright & Credits

 

 

Acknowledgements

From the Author

I am both honoured and humbled to author this important and timely publication on Robert Houle. I extend a special thank you to Sara Angel for the opportunity. I am grateful for the assistance provided by her remarkable team at ACI. Their professionalism and help throughout the project was nothing less than stellar. I am also indebted to all editors, in particular Amanda Lewis and Kendra Ward, who provided me with valuable suggestions and advice on the manuscript. My colleagues in art museums across the country, in particular the Winnipeg Art Gallery; Canadian Museum of History, Ottawa; and Indigenous and Northern Affairs Canada, Gatineau, have been of great help responding to my inquiries on specific works by Houle during the research phase.

 

My deepest gratitude goes to Robert Houle. I am grateful for the generosity of time he gave in sharing his life and work with me; for his honesty and patience; and most of all, for his trust. This journey has been memorable. Sincere thanks to Paul Gardner for his invaluable assistance from the beginning of this project to its completion. It could not have been accomplished without him.

 

From the Art Canada Institute

The Art Canada Institute gratefully acknowledges the generosity of TD Bank Group, the Title Sponsor of this book.

 

The Art Canada Institute also gratefully acknowledges its other sponsors for the 2017–18 Season: Aimia, Alexandra Bennett in memory of Jalynn Bennett, Consignor Canadian Fine Art, Kiki and Ian Delaney, Richard and Donna Ivey, the six children of Betty-Ann McNicoll-Elliott and R. Fraser Elliott, The Sabourin Family Foundation, and Sandra L. Simpson.

 

We also sincerely thank the Founding Sponsor for the Art Canada Institute: BMO Financial Group; and the Art Canada Institute Founding Patrons: Jalynn H. Bennett, Butterfield Family Foundation, David and Vivian Campbell, Albert E. Cummings, Kiki and Ian Delaney, Dr. Jon S. and Mrs. Lyne Dellandrea, the Fleck family, Roger and Kevin Garland, Glorious & Free Foundation, The Scott Griffin Foundation, Gershon Iskowitz Foundation, Jane Huh, Michelle Koerner and Kevin Doyle, Lawson Hunter, Phil Lind, Nancy McCain and Bill Morneau, Sarah and Tom Milroy, Partners in Art, Gerald Sheff and Shanitha Kachan, Sandra L. Simpson, Stephen Smart, Pam and Mike Stein, Nalini and Tim Stewart, The Pierre Elliott Trudeau Foundation, Robin and David Young, and Sara and Michael Angel.

 

We thank our Lead Benefactors: Alexandra Baillie, Alexandra Bennett, Grant and Alice Burton, Kiki and Ian Delaney, Dr. Jon S. and Mrs. Lyne Dellandrea, Michelle Koerner and Kevin Doyle, James and Melinda Harrison, Sarah and Tom Milroy, Partners in Art, Pam and Michael Stein, and Sara and Michael Angel.

 

We thank our Patrons: Connor, Clark & Lunn Foundation and Lawson Hunter.

 

The ACI gratefully acknowledges the support and assistance of the Agnes Etherington Art Centre (Leah Cox); Art Gallery of Hamilton (Christine Braun); Art Gallery of Ontario (Eva Athanasiu, Tracy Mallon-Jensen, Donald Rance); Art Gallery of Peterborough (Fynn Leith); Art Gallery of Windsor (Nicole McCabe); Canadian Museum of History (Erin Gurski, Vincent Lafond); CARCC (Christian Bédard); Carleton University Art Gallery (Sandra Dyck, Patrick Lacasse); Estate of Carl Beam (Anong Beam); Grunt Gallery (Dan Pon); Indigenous and Northern Affairs Art Centre (Kevin Gibbs); Kinsman Robinson Galleries (John Newman); Latcham Gallery (Elisa Coish, Chai Duncan); MacKenzie Art Gallery (Marie Olinik); McMaster Museum of Art (Julie Bronson, Carol Podedworny); National Gallery Canada (Raven Amiro, Philip Dombowsky); The Robert McLaughlin Gallery (Linda Jansma, Sonya Jones); School of Art Gallery, University of Manitoba (Donna Jones, Jamie Wright); Toronto City Planning Urban Design, Public Art Commission (Jane Perdue); University of Waterloo Art Gallery (Ivan Jurakic); Vancouver Art Gallery (Danielle Currie); Winnipeg Art Gallery (Nicole Fletcher, Simone Reis); and Barry Ace, Rebecca Belmore, Michael Cullen, Toni Hafkenscheid, Trevor Mills, Patti Ross Milne, Shelley Niro, Ruth Phillips, Serge Saurette, and Greg Staats. The ACI recognizes the numerous private collectors who have given permission for their work to be published in this edition.

 

The ACI also sincerely thanks Robert Houle and Paul Gardner for their image research assistance.

 


 

Image Sources

Every effort has been made to secure permissions for all copyrighted material. The Art Canada Institute will gladly correct any errors or omissions.

 


 

Credit for Banner Images

 

Robert Houle at the Department of Indian Affairs and Northern Development, 1970
Biography: Robert Houle at the Department of Indian Affairs and Northern Development, 1970. (See below for details.)
Robert Houle, Parfleches for the Last Supper (Bartholomew), 1983
Key Works: Robert Houle, Parfleches for the Last Supper (Bartholomew), 1983. (See below for details.)
Robert Houle, Kanata, 1992
Significance & Critical Issues: Robert Houle, Kanata, 1992. (See below for details.)
Robert Houle, Parfleche for Norval Morrisseau, 1999
Style & Technique: Robert Houle, Parfleche for Norval Morrisseau, 1999. (See below for details.)
Robert Houle, Parfleche for Edna Manitowabi, 1999
Sources & Resources: Robert Houle, Parfleche for Edna Manitowabi, 1999. (See below for details.)
Robert Houle, Muhnedobe uhyahyuk (Where the gods are present), 1989
Where to See: Robert Houle, Muhnedobe uhyahyuk (Where the gods are present), 1989. (See below for details.)

 

Credits for Works by Robert Houle

 

Aboriginal Title, 1989–90, by Robert Houle
Aboriginal Title, 1989–90. Art Gallery of Hamilton, purchased with funds from the Alfred Wavell Peene and Susan Nottle Peene Memorial, 1992 (1992.3). © Robert Houle.
Anishnabe Walker Court, 1993, by Robert Houle
Anishnabe Walker Court, 1993. Walker Court, Art Gallery of Ontario, Toronto. Photo credit: Art Gallery of Ontario. © Robert Houle.
Blue Thunder, 2012, by Robert Houle
Blue Thunder, 2012. Private collection. Courtesy of Kinsman Robinson Galleries, Toronto. © Robert Houle.
Coming Home, 1995, by Robert Houle
Coming Home, 1995. Private collection. Courtesy of the Winnipeg Art Gallery. © Robert Houle. Photo credit: Ernest Mayer.
Diamond Composition, 1980, by Robert Houle
Diamond Composition, 1980. Carleton University Art Gallery, Ottawa, gift of Victoria Henry (1995.16.11). Courtesy of the artist. © Robert Houle.
Epigram the Shortest Distance, 1972, by Robert Houle
Epigram the Shortest Distance, 1972. Indigenous Art Centre, Indigenous and Northern Affairs Canada, Gatineau (151968). © Robert Houle. Photo credit: Lawrence Cook.
Everything You Wanted to Know about Indians from A to Z, 1985, by Robert Houle
Everything You Wanted to Know about Indians from A to Z, 1985. Winnipeg Art Gallery, acquired with funds from The Winnipeg Art Gallery Foundation Inc. (G-89-1501 a-cc). Detail image courtesy of McMaster Museum of Art, Hamilton. © Robert Houle.
Gambling Sticks, 1999, by Robert Houle
Gambling Sticks, 1999. The Forks, Winnipeg. Photograph by Serge Saurette. © Robert Houle.
In Memoriam, 1987, by Robert Houle
In Memoriam, 1987. Art Gallery of Ontario, Toronto, gift of Vanessa, Britney, and Nelson Niedzielski, 2000 (2000/1196). © Robert Houle.
Innu Parfleche, 1990, by Robert Houle
Innu Parfleche, 1990. Canadian Museum of History, Gatineau (V-F-190). Courtesy of McMaster Museum of Art, Hamilton. © Robert Houle.
Kanata, 1992, by Robert Houle
Kanata, 1992. National Gallery of Canada, Ottawa, purchased 1994 (37479.1-4). Courtesy of the artist. © Robert Houle.
Kanehsatake, 1990–93, by Robert Houle
Kanehsatake, 1990–93. Art Gallery of Hamilton, gift of the artist, 1994 (1994.40). © Robert Houle.
Kanehsatake X, 2000, by Robert Houle
Kanehsatake X, 2000. Private collection. © Robert Houle. Photo credit: Galerie Nicolas Robert.
Keeabishcoon Peenish Chipedahbung (I Will Stand in Your Path Till Dawn), 1997, by Robert Houle
Kekabishcoon Peenish Chipedahbung (I Will Stand in Your Path Till Dawn), 1997. The Robert McLaughlin Gallery, Oshawa, gift of Paul Gardner in memory of Donald Gardner, 2007. © Robert Houle.
Lost Tribes, 1990–91, by Robert Houle

Lost Tribes, 1990–91. Art Gallery of Ontario, Toronto, purchased with funds donated by AGO Members, 1994 (93/257.1-.12). © Robert Houle.

Love Games, 1972, by Robert Houle

Love Games, 1972. Indigenous Art Centre, Indigenous and Northern Affairs Canada, Gatineau (151969). © Robert Houle. Photo credit: Lawrence Cook.

Mississauga Portraits (from left to right: Waubuddick, Maungwudaus, Hannah), 2012, by Robert Houle
Mississauga Portraits (from left to right: Waubuddick, Maungwudaus, Hannah), 2012. Collection of the artist. © Robert Houle. Photo credit: Art Gallery of Windsor.
Morning Star, 1976, by Robert Houle
Morning Star, 1976. Indigenous Art Centre, Indigenous and Northern Affairs Canada, Gatineau (151808). © Robert Houle. Photo credit: Lawrence Cook.
Morningstar, 1999, by Robert Houle
Morningstar, 1999. Pool of the Black Star, Manitoba Legislative Building, Winnipeg. Courtesy of the Winnipeg Art Gallery. © Robert Houle.
Muhnedobe uhyahyuk (Where the gods are present), 1989, by Robert Houle
Muhnedobe uhyahyuk (Where the gods are present), 1989. National Gallery of Canada, Ottawa, purchased 1992 (36168.1-4). Courtesy of the artist. © Robert Houle.
New Sentinel, 1987, by Robert Houle
New Sentinel, 1987. The Robert McLaughlin Gallery, Oshawa. © Robert Houle. Photo credit: Ernest Mayer.
Palisade II, 2007, by Robert Houle
Palisade II, 2007. National Gallery of Canada, Ottawa. © Robert Houle.
Parfleche for Edna Manitowabi, 1999, by Robert Houle
Parfleche for Edna Manitowabi, 1999. Collection of the artist. Courtesy of McMaster Museum of Art. Photo credit: Michael Cullen. © Robert Houle.
Parfleches for the Last Supper, 1983, by Robert Houle
Parfleches for the Last Supper, 1983. (Matthew, James the Less, Jude, Simone, Philip, Andrew, Bartholomew, Thomas, Peter, James, John, Judas, Jesus). Winnipeg Art Gallery, gift of Mr. Carl T. Grant, Artvest Inc., (G-86-460­ to G-86-472). © Robert Houle.
Parfleche for Norval Morrisseau, 1999, by Robert Houle
Parfleche for Norval Morrisseau, 1999. Collection of the artist. Courtesy of McMaster Museum of Art. Photo credit: Michael Cullen. © Robert Houle.
Paris/Ojibwa, 2010, by Robert Houle
Paris/Ojibwa, 2010. Collection of the artist. Courtesy of the Peterborough Art Gallery. © Robert Houle. Photo credit: Michael Cullen.
Premises for Self-Rule: Constitution Act, 1982, 1994, by Robert Houle
Premises for Self-Rule: Constitution Act, 1982, 1994. Art Gallery of Ontario, Toronto, purchased with funds from the Estate of Mary Eileen Ash, 2014 (2014/1). © Robert Houle
Premises for Self-Rule: Treaty No. 1, 1994, by Robert Houle
Premises for Self-Rule: Treaty No. 1, 1994. Winnipeg Art Gallery, acquired with funds from the Canada Council for the Arts Acquisition Assistance Program (G-96-11 abc). © Robert Houle.
Postscript, 1999​​​​​​​, by Robert Houle
Postscript, 1999. MacKenzie Art Gallery, Regina, purchased with the financial support of the Canada Council for the Arts Acquisition Assistance Program (2000-01-01). © Robert Houle.
Ojibwa, from Anishnabe Walker Court preliminary study #8, 1994​​​​​​​, by Robert Houle
Ojibwa, from Anishnabe Walker Court preliminary study #8, 1994. Art Gallery of Ontario, Toronto, purchased with funds donated by AGO Members, 1996 (96/4.8). © Robert Houle.
Ojibwa Motif, Purple Leaves, Series No. 2, 1972​​​​​​​, by Robert Houle
Ojibwa Motif, Purple Leaves, Series No. 2, 1972. Carleton University Art Gallery, Ottawa, gift of Raymonde Falardeau, 1998 (1998.25.1). © Robert Houle. Photo credit: Justin Wonnacott.
O-ween du muh waun (We Were Told), 2017​​​​​​​, by Robert Houle
O-ween du muh waun (We Were Told), 2017. Confederation Centre Art Gallery, Charlottetown, commissioned with the A.G. and Eliza Jane Ramsden Endowment Fund, 2017. Courtesy of the artist. © Robert Houle.
Rainbow Woman, 1982​​​​​​​, by Robert Houle
Rainbow Woman, 1982. Indigenous and Northern Affairs Canada, Gatineau (306032). © Robert Houle. Photo credit: Lawrence Cook.
Red Is Beautiful, 1970​​​​​​​, by Robert Houle
Red Is Beautiful, 1970. Canadian Museum of History, Gatineau (V-F-174). © Robert Houle.
Sandy Bay, 1998–99​​​​​​​, by Robert Houle
Sandy Bay, 1998–99. Winnipeg Art Gallery, acquired with funds from the President’s Appeal 2000 and with the support of the Canada Council for the Arts Acquisition Assistance program (2000-87 a-e). © Robert Houle.
Sandy Bay, 2007​​​​​​​, by Robert Houle
Sandy Bay, 2007. Collection of the artist. Courtesy of Peterborough Art Gallery. © Robert Houle. Photo credit: Michael Cullen.
Sandy Bay Residential School Series, 200​​​​​​​, by Robert Houle
Sandy Bay Residential School Series, 2009. School of Art Gallery, University of Manitoba, Winnipeg, purchased with funds from York Wilson Endowment Award (13.069 to 13.092). Courtesy of the artist. © Robert Houle.
Saysaygon, 2016​​​​​​​, by Robert Houle
Saysaygon, 2016. Collection of artist. © Robert Houle.
Seven Grandfathers (Mahéen gun [Wolf]), 2014​​​​​​​, by Robert Houle
Seven Grandfathers (Mahéen gun [Wolf]), 2014. Walker Court, Art Gallery of Ontario, Toronto, purchased with the assistance of the Martinsell Fund, 2016 (2015/38.1-14). © Robert Houle.
Seven Grandfathers (Músh kooda pezhéke [Buffalo]), 2014​​​​​​​, by Robert Houle
Seven Grandfathers (Músh kooda pezhéke [Buffalo]), 2014. Walker Court, Art Gallery of Ontario, Toronto, purchased with the assistance of the Martinsell Fund, 2016 (2015/38.1-14). © Robert Houle.
Seven in Steel, 1989​​​​​​​, by Robert Houle
Seven in Steel, 1989. National Gallery of Canada, Ottawa, gift of Norman Garnet, Toronto, 1996 (38374.1-10). © Robert Houle.
Shaman Dream in Colour, 1975​​​​​​​, by Robert Houle
Shaman Dream in Colour, 1975. Private collection. Courtesy of Kinsman Robinson Galleries, Toronto. © Robert Houle.
Shaman Never Die, 2015​​​​​​​, by Robert Houle
Shaman Never Die, 2015. Collection of the artist. Courtesy of Kinsman Robinson Galleries, Toronto. © Robert Houle.
Study #10 (for Anishnabe Walker Court), 1994​​​​​​​, by Robert Houle
Study #10 (for Anishnabe Walker Court), 1994. Art Gallery of Ontario, Toronto, gift of Lynn and Stephen Smart, 2004 (2005/46). © Robert Houle.
Study for Reclining Ojibwa, 2006​​​​​​​, by Robert Houle
Study for Reclining Ojibwa, 2006. Collection of Barry Ace. Courtesy of Peterborough Art Gallery. © Robert Houle. Photo credit: Michael Cullen.
Square No. 3, 1978​​​​​​​, by Robert Houle
Square No. 3, 1978. National Gallery of Canada, Ottawa, gift of Myron Laskin, Santa Monica, California, 1987 (29856). © Robert Houle.
These Apaches Are Not Helicopters, 1999​​​​​​​, by Robert Houle
These Apaches Are Not Helicopters, 1999. VIA Rail train station in Winnipeg. Courtesy of the Winnipeg Art Gallery. © Robert Houle.
Warrior Lances for Temagami, 1989​​​​​​​, by Robert Houle
Warrior Lances for Temagami, 1989. Indigenous Art Centre, Indigenous and Northern Affairs Canada, Gatineau (306425 A-H). © Robert Houle.
Wigwam, 1972​​​​​​​, by Robert Houle
Wigwam, 1972. Indigenous Art Centre, Indigenous and Northern Affairs Canada, Gatineau (151967). © Robert Houle.
 Working study for Kanata (painting based on Benjamin West’s painting The Death of General Wolfe, 1770), 1991–92​​​​​​​, by Robert Houle
Working study for Kanata (painting based on Benjamin West’s painting The Death of General Wolfe, 1770), 1991–92. Art Gallery of Ontario, Toronto. © Robert Houle.
Zero Hour, 1988​​​​​​​, by Robert Houle
Zero Hour, 1988. Agnes Etherington Art Centre, Kingston (41-001). © Robert Houle.

 

Credits for Photographs and Works by Other Artists

 

Artifact 671B, 1988, by Rebecca Belmore
Artifact 671B, 1988, by Rebecca Belmore, photograph by William Lindsay. © Rebecca Belmore.
Carl Beam and Robert Houle in 1985​​​​​​​
Carl Beam and Robert Houle in 1985, photograph by Ann Beam. Courtesy of Anong Beam. © Estate of Carl Beam.
Cathedra, 1951, by Barnett Newman
Cathedra, 1951, by Barnett Newman. Stedelijk Museum, Amsterdam, acquired with the generous support of the Vereniging Rembrandt, Theo van Gogh Stichting and N.N. (A 35917) © The Barnett Newman Foundation. Courtesy of Albertis Window.
Cinq études d’indiens Ojibwas, 1845, by Eugène Delacroix
Cinq études d’indiens Ojibwas, 1845, by Eugène Delacroix. Louvre Museum, Paris (RF 9311).
Composition No. 1 Lozenge with Four Lines, 1930, by Piet Mondrian
Composition No. 1 Lozenge with Four Lines, 1930, by Piet Mondrian. Solomon R. Guggenheim Museum, the Hilla Rebay Collection, New York. Courtesy of the Guggenheim Collection Online.
Corpse and Mirror, 1976, by Jasper Johns
Corpse and Mirror, 1976, by Jasper Johns. Museum of Modern Art, New York, gift of Celeste Bartos (534.1976). © Jasper Johns. Courtesy of the MOMA Collection Online.
Cover of the 1943 edition of Ojibwa Crafts by Carrie A. Lyford,
Cover of the 1943 edition of Ojibwa Crafts by Carrie A. Lyford, photograph by Rachel Topham.
Cover of Land, Spirit, Power exhibition catalogue, 1994
Cover of Land, Spirit, Power exhibition catalogue, 1994. Courtesy of the National Gallery of Canada, Ottawa.
The Death of General Wolfe, 1770, by Benjamin West
The Death of General Wolfe, 1770, by Benjamin West. National Gallery of Canada, Ottawa, gift of the 2nd Duke of Westminster to the Canadian War Memorials, 1918; Transfer from the Canadian War Memorials, 1921 (8007).
 First Station, 1958, by Barnett Newman
First Station, 1958, by Barnett Newman. National Gallery of Art, Washington D.C., Robert and Jane Meyerhoff Collection (1986.65.1). © The Barnett Newman Foundation. Courtesy of Wikimedia Commons.
The Indian in Transition, 1978, by Daphne Odjig
The Indian in Transition, 1978, by Daphne Odjig. Canadian Museum of History, Gatineau (III-M-15).
 Indians of Canada Pavilion at Expo 67, 1967
Indians of Canada Pavilion at Expo 67, 1967, photographer unknown. Courtesy of Library and Archives Canada, Ottawa.
Faye HeavyShield’s Untitled, 1992
Installation view of Faye HeavyShield’s Untitled, 1992, at the Land, Spirit, Power exhibition, photograph by Louis Joncas. Courtesy of the National Gallery of Canada Library and Archives, Ottawa.
Sandy Bay Residential School Series, 2009
Installation view of Sandy Bay Residential School Series, 2009, at Latcham Gallery, Stouffville, Ontario, 2016, photograph by Toni Hafkenscheid. Courtesy of the author.
Installation view of Seven Grandfathers, 2014
Installation view of Seven Grandfathers, 2014, at Walker Court, Art Gallery of Ontario, Toronto, photograph by Dean Tomlinson.
Interior page from Ojibwa Crafts (1943)
Interior page from Ojibwa Crafts (1943) by Carrie A. Lyford, photograph by Rachel Topham.
Invitation to Robert Houle’s first solo exhibition, 1984
Invitation to Robert Houle’s first solo exhibition, 1984. Archive of the artist. Courtesy of the artist.
Lac Laronge IV, 1969, by Frank Stella
Lac Laronge IV, 1969, by Frank Stella. Toledo Museum of Art, purchased with funds from the Libbey Endowment, gift of Edward Drummond Libbey, 1972.4. © Frank Stella. Courtesy of the Detroit Art Review online.
Lozenge Composition with Two Lines, 1931, by Piet Mondrian
Lozenge Composition with Two Lines, 1931, by Piet Mondrian. Stedelijk Museum, Amsterdam, acquired with the generous support of the Prins Bernhard Cultuurfonds, the Algemene Loterij Nederland, and the Vereniging Rembrandt (1988.1.0016). Courtesy of Wikimedia Commons.
A miniature parfleche, Crow, 1890–1910
A miniature parfleche, Crow, 1890–1910. Collection of the artist. Courtesy of McMaster Museum of Art, Hamilton.
Mural by Norval Morrisseau for the Indians of Canada pavilion at Expo 67, 1967
Mural by Norval Morrisseau for the Indians of Canada pavilion at Expo 67, 1967, photographer unknown. Courtesy of Kinsman Robinson Galleries, Toronto.
Norval Morrisseau and Robert Houle in Beardmore, Ontario, 1978
Norval Morrisseau and Robert Houle in Beardmore, Ontario, 1978, photograph by Barbara Stimpson. Archive of the artist. Courtesy of the artist.
A page from Robert Houle’s Amsterdam notebook, 1980
A page from Robert Houle’s Amsterdam notebook, 1980. © Greg Staats/Visual Arts-CARCC (2018).
Paul Gardner and Robert Houle with their cats, 1988
Paul Gardner and Robert Houle with their cats, 1988, photograph by Andre Leduc. Archive of the artist. Courtesy of the artist.
Rebecca Belmore’s Mawu-che-hitoowin: A Gathering of People for Any Purpose, 1992
Rebecca Belmore’s Mawu-che-hitoowin: A Gathering of People for Any Purpose, 1992, at Land, Spirit, Power, photograph by Louis Joncas. Courtesy of the National Gallery of Canada, Ottawa. 
Robert Houle in 2015 with his triptych Colours of Love
Robert Houle in 2015 with his triptych Colours of Love, 2015, photograph by Patti Ross Milne.
Robert Houle at Assiniboia Residential High School, 1967
Robert Houle at Assiniboia Residential High School, 1967, photographer unknown. Archive of the artist. Courtesy of the artist.
Robert Houle with Colours of Love, 2015
Robert Houle with Colours of Love, 2015, photograph by Patti Ross Milne.
Robert Houle at the Department of Indian Affairs and Northern Development regional office in Winnipeg, 1966
Robert Houle at the Department of Indian Affairs and Northern Development regional office in Winnipeg, 1966, photographer unknown. Archive of the Department of Indian and Northern Affairs. Courtesy of the artist.
Robert Houle drawing in his Wellesley Street East apartment in Toronto, 1981
Robert Houle drawing in his Wellesley Street East apartment in Toronto, 1981, photograph by the Globe and Mail, Toronto. Archive of the artist. Courtesy of the artist.
 Robert Houle at the site of Morningstar, 1999
Robert Houle at the site of Morningstar, 1999, with Shirley Madill, photograph by Ernest Mayer. Archive of the artist. Courtesy of the artist.
Robert Houle in the doorway of Tom Thomson’s shack, 1989
Robert Houle in the doorway of Tom Thomson’s shack, 1989, photograph by Greg Staats. Archive of the artist. Courtesy of the artist. © Greg Staats/Visual Arts-CARCC (2018).
Robert Houle painting Sandy Bay, 1999
Robert Houle painting Sandy Bay, 1999, photograph by David Recollet. Archive of the artist. Courtesy of the artist.
Robert Houle’s parents, 1981
Robert Houle’s parents, 1981, photographer unknown. Archive of the artist. Courtesy of the artist.
Robert Houle’s second-floor apartment on Queen Street West, Toronto, 1990
Robert Houle’s second-floor apartment on Queen Street West, Toronto, 1990, photograph by Greg Staats. Archive of the artist. Courtesy of the artist. © Greg Staats/Visual Arts-CARCC (2018).
 Robert Houle wearing a headdress, 1974
Robert Houle wearing a headdress, 1974, photographer unknown. Archive of the artist. Courtesy of the artist.
Robert Houle, with a work by Alex Janvier, at the Department of Indian Affairs and Northern Development in Ottawa in 1969
Robert Houle, with a work by Alex Janvier, at the Department of Indian Affairs and Northern Development in Ottawa in 1969, photographer unknown. Archive of the artist. Courtesy of the artist.
Robert Houle working in his studio at the McMichael Canadian Art Collection, 1989, photograph by Linda Moira​​​​​​​
Robert Houle working in his studio at the McMichael Canadian Art Collection, 1989, photograph by Linda Moira. Archive of the artist. Courtesy of the artist.
A still from the video Robert’s Paintings, 2011
A still from the video Robert’s Paintings, 2011, directed by Shelley Niro, cinematography by Richard Story. Courtesy of VTape, Toronto. © Shelley Niro.
A spread from the Montreal magazine Secrets des Artistes advertising Colours of Pride: Paintings by Seven Professional Native Artists, 1975
A spread from the Montreal magazine Secrets des Artistes advertising Colours of Pride: Paintings by Seven Professional Native Artists, 1975. Courtesy of the National Gallery of Canada Library and Archives, Ottawa.
Tundra, 1950, by Barnett Newman​​​​​​​
Tundra, 1950, by Barnett Newman. Private collection. © The Barnett Newman Foundation. Courtesy of Artstack.

 

BOOK CREDITS

 

Publisher

Sara Angel

 

Executive Editor

Kendra Ward

 

Web & Layout Director

Simone Wharton 

 

Editor

Amanda Lewis and Kendra Ward

 

Copy Editor

Alicia Peres

 

Proofreader

Strong Finish Editorial Design

 

Translator

Christine Poulin

 

French Copy Editor and Proofreader

Annie Champagne

 

Image Research Associate

Eva Lu

 

Digital Image Specialist

Rachel Topham

 

Layout Designer and Associate

Michael Rattray

 

French Layout Associate

Michael Rattray

 

Design Template

Studio Blackwell

 


 

COPYRIGHT

 

© 2018 Art Canada Institute. All rights reserved.

 

Art Canada Institute

Massey College, University of Toronto

4 Devonshire Place

Toronto, ON M5S 2E1

 

Library and Archives Canada Cataloguing in Publication

 

Madill, Shirley, 1952-, author

          Robert Houle: life & work / Shirley Madill.

 

Includes bibliographical references. 

Contents: Biography — Key works — Significance & critical issues — Style &
technique — Sources & resources — Where to see.


Electronic monograph in HTML, PDF and mobile formats.

ISBN 978-1-4871-0172-5 (MOBILE).—ISBN 978-1-4871-0171-8 (PDF). —

ISBN 978-1-4871-0170-1 (HTML)

 

          1. Houle, Robert, 1947-. 2. Houle, Robert, 1947- -Criticism and interpretation. I. Art Canada Institute, issuing body II. Title.

 

N6549.H67M33 2018                           709.2                      C2018-901864-X

 

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