Abstract

This thesis examines the artistic output of Louis Karoniaktajeh Hall (1918-1993), a Kanien’keha:ka man who played multiple roles in the rejuvenation of the traditional Haudenosaunee/Longhouse culture. Hall was best known as a political leader who played an integral role in the revival of Haudenosaunee spiritual traditions in his community, Kahnawake Mohawk Territory. He was also involved in the repossession of traditional Mohawk territory in New York State in 1974. Hall was an avid reader of historical and philosophical texts, and he penned several self-published newsletters and books which were disseminated not only in Kahnawake but to surrounding Native communities. However, with all these accomplishments, his artistic career has been overlooked in the canons of art history. The most recognizable work he produced would be the Warrior Flag, which garnered international attention when it was used during the blockades and protests in both Kanesatake and Kahnawake territories during the 1990 Oka Crisis. However, his work was much more varied than this one piece and his artistic practice deserves special attention. With the exception of the flag, his work has not been shown in any galleries nor does it appear in the several surveys of contemporary First Nations art. The richness of his work, which takes on characteristics of advertising design, political propaganda, and historical painting, should be considered as a unique and integral part of Aboriginal and North American art history.