Abstract: This dissertation focuses on artworks by Andy Warhol, Brian Jungen, Mike Kelley and Rebecca Belmore. These works emerged in the wake of a shift that commenced in the 1960s and 1970s, as Canada and the United States largely changed their state policies towards Indigenous peoples from coercive assimilation to a form of political recognition based on the accommodation of cultural difference. These changes were a response to Indigenous activism across the continent, which altered the terms of engagement between these nation-states and Indigenous peoples with respect to settler colonialism’s characteristic process of dispossession. The artists I study explore the persistence of settler imaginaries, revealing both the seeming exhaustion of old stereotypes and their tenacious emotional and psychological grip on mainstream North American culture. The promises of multiculturalism and equal citizenship held out by the paradigm of political recognition were never suited to mediate relations between citizens from a multitude of Indigenous nations with complex sovereignty claims overlapping with the settler states of Canada and the United States. Yet this new paradigm also faced profound challenges posed by the neoliberal drive, starting in the 1970s, to impose market logics on more and more aspects of life. The struggles of the civil and women’s rights movements to win recognition as equal citizens involved emphasizing the differences of their respective constituencies, a social dynamic to which capitalist consumer markets quickly adapted. The artworks I address here reflect on forms of subjectivity profoundly shaped by the pervasion of consumerism and reveal the increasing demands placed on artists to perform their identities in ways that foreground their difference to gain recognition from the art market, state arts funding bodies, and the dominant organs of art criticism. My first case study, discussing some of Warhol’s final works, ruminates on how his commitment to “business art” figured this kind of subjectivity in relation to a settler-colonial imaginary that he explicitly associated with the commodity par excellence: money. Jungen, Kelley and Belmore each incorporated these new pressures to perform into their work, even as they slyly subverted, or outright refused the imperatives fueling these demands. Each of the projects discussed here calls attention to the economic circuits through which performances of identity are mediated in institutional art contexts. They show that this economy refracts both the desires and expectations of a broader public, but is deeply contingent on the unique emotional incentives that structure art’s consumption in its rarified institutional spaces.



Abstract: Introduction: The land we call Canada is a settler colonial country where reproductive healthcare is used as a mechanism to control, subjugate, and erase Indigenous people and to advance the White settler state. Healthcare providers play an integral role in the healthcare system and contribute to Canada’s colonization. In this piece, we critically analyze how settler midwifery is complicit with colonialism in reproductive healthcare by exploring the history of midwifery in Canada, midwifery education, and contemporary settler midwifery. Discussion: European settlers omitted the history of Indigenous midwifery in Canada and to justify their erasure, they conceptualized Indigenous Peoples as uncivilized and their birthing practices as substandard. To establish a colonial healthcare system, settler midwives replaced traditional Indigenous birth attendants. When midwifery became regulated, midwives were required to train in formal post-secondary institutions that sustain colonial logics, systems, and practices. Midwifery education programs maintain colonialism by reinforcing medicalized Western practices and sustaining barriers to the growth of Indigenous midwifery. As a result, Western birthing practices are widespread among settler midwives and Indigenous Peoples face barriers to comprehensive and culturally sensitive care. To decolonize Canadian midwifery, we must dismantle stereotypes about Indigenous Peoples and their birthing practices in historical narratives, implement an anti-colonial approach to midwifery education, support Indigenous midwives in returning birth home, and improve the provision of culturally sensitive care. Conclusion: Settler midwifery in Canada is complicit in colonialism; building anti-colonial alliances can help support Indigenous midwives in leading a decolonial future for reproduction and birthing.





Abstract: In this article, I examine how the fear of miscegenation developed as a raison d’être for the construction and maintenance of apartheid. I argue that despite its efficacy at reproducing racial-caste formations, miscegenation taboo ultimately undermined its own hegemonic mythology by constructing contradictory erotic desires and subjectivities which could neither be governed nor contained. I consider how miscegenation fears and fantasies were debated in public discourse, enacted into law, institutionalized through draconian policing and punishment practices, culturally entrenched, yet negotiated and resisted through everyday intimacies. While crime statistics show that most incidences of interracial sex involved White men and women of color, the perceived threat to “White purity” was generally represented through images of White women—volks-mothers and daughters—in the Afrikaner nationalist iconography. White women’s wombs symbolized the future of “Whiteness.” This article offers a critique of the prevailing South African “exceptionalism” paradigm in apartheid studies. Detailed analyses of government commission reports (1939, 1984, 1985) and parliamentary debate records (1949) reveal considerable American influence on South Africa’s “petty apartheid” laws, and especially the Prohibition of Mixed Marriages Act (1949) and Immorality Amendment Act (1950). While these “cornerstone” policies of apartheid developed from local socio-political conflicts and economic tensions, they were always entangled in global racial formations, rooted in trans-oceanic histories of slavery, dispossession, and segregation. This historical anthropological study of race/sex taboo builds on interdisciplinary literatures in colonial history, sociology, postcolonial studies, literary theory, art history, cultural studies, feminist theory, queer studies, and critical race theory.