Educational training includes a Dip. Fine Art (4 year degree), Emily Carr College of Art and Design, Vancouver in 1989, Masters in Fine Art, (MFA), Nova Scotia College of Art and Design, Halifax in 1993 and a PhD. in art education at the University of Victoria, Victoria, BC in 2006. Dissertation title, Challenging the Ideology of Representation: Contemporary First Nations Art in Canada.
Significant awards are: Distinguished Alumni Award, (2000) Emily Carr Institute of Art and Design, and Provost Teaching Excellence Award in Aboriginal Education (2015) University of Saskatchewan.
Dr. Longman has been teaching post-secondary courses for the past 27 years in Visual Art Studio and Art History with specializations in sculpture, drawing, senior studio and Indigenous Art History. Institutions include: Native Education Centre, Vancouver, BC; Nicola Valley Institute of Technology, Merritt, B.C.; University of Victoria, Victoria, BC.; Emily Carr Institute of Art and Design Vancouver, B.C.; University of Victoria, Victoria, BC. and; University of Saskatchewan, Saskatoon, SK. Since 1989, Dr. Longman has taught 86 courses at the post-secondary level.
Indigenous Art History courses taught are: Aboriginal Art History I, II: Arctic, Western Subarctic, West Coast, Plateau, Plains, Woodlands, Eastern Subarctic, East Coast and Metis; and Contemporary Aboriginal Art I, II: Contemporary Indigenous Art, Canadian and International.
Academic senior positions include; Dean, White Mountain Academy of Arts in Elliot Lake, Ontario and Department Head of Fine Art at the Nicola Valley Institute of Technology in Merritt, BC.
Academic research and publications include the following subject areas: Contemporary/Historical Aboriginal art; Pictograph Research-Digital Restoration and Non-evasive Dating; Interior Salish Art; Aboriginal Research Methodology and; curatorial writing.
Select publications include; Transposing Perspectives, Mendel Art Gallery, 2011; Aboriginography: A New Aboriginal Research Methodology. Diedut, Volume 3, 2014 (Journal) Sami University College, Kautokeino, Norway; Ancestors Rising: Aboriginal Art As Historical Testimonials, Journal of the Humanities Research Centre And Centre for Cross-Cultural Research, 2009; Other disseminated works include a technical report: Nicola Valley Pictographs Report: Digital Restoration And Non-Evasive Dating, distributed to Nicola Tribal Council, Lower Nicola Band, Upper Nicola Band and Museum Of Civilization.
Future publications include: Reclamation and Beyond: Contemporary Indigenous Art In Canada, ABORIGINOGRAPHY: Aboriginal Research Methodology: Art History, Visual Arts and Beyond and; Nlaka’pamux art, (105 pp. 7 chapters).
Curated Exhibition include. Revisioning The Indigenous Continuum: Saskatchewan Arts Board Indigenous Collection, (2014), Grand Hall Gallery, Wanuskewin Heritage Park, Saskatoon, SK; Judy Chartrand: Selected Works 1999- 2013 (2013), AKA Gallery, Saskatoon, SK; and Buffy Sainte- Marie: Sixteen Million Colors (2013), Grand Hall Gallery, Wanuskewin Heritage Park, Saskatoon, SK
Digital Image Restoration
Dr. Longman has been researching and documenting pictographs in the BC interior since 1996. She specializes in digital restoration techniques, interpretation and non-evasive dating techniques.
Influenced by the digital restoration technique, Cross-Polarization Enhancement Procedure, created by James Henderson, Dr. Longman expanded this research by additionally processing images with a decorrelation stretch software, initially invented by NASA and developed into DStretch software by Jon Harman (2005). By combining both techniques, Longman is able to pull out images not visible to the naked eye.
Longman is currently interested in developing this research further by analyzing deep elements through X-ray fluorescence spectroscopy, which is now available in hand-held machines available for use in the field.
Non-Evasive Dating Technique
In 2007, Dr. Longman heard about a Non-evasive Soil Peel Method, practiced by Dr. Bryan Gordon, who was working for the Museum of Civilization. She invited him to join her research team in interior BC to demonstrate the method and date pictographs. The soil peel method involves photographing, screening and collecting organic material from the base of painting, that are AMS datable, such as charcoal, plant, shell and bone fragments that may have been left behind in the soil after being painted or carved. The process leaves no foot print.