"Organized by the Hallie Ford Museum of Art in partnership with the Crow’s Shadow Institute of the Arts (CSIA), the exhibition chronicles the history of Crow’s Shadow over the past 25 years as it has emerged as an important printmaking atelier located on the Confederated Tribes of the Umatilla Indian Reservation near Pendleton, Oregon.The exhibition features 74 prints drawn from the Crow’s Shadow Print Archive and focuses on themes of landscape, abstraction, portraiture, word and images, and media and process. Included in the exhibition are works by 50 Native and non-Native artists who have worked at CSIA, including Rick Bartow, Pat Boas, Joe Feddersen, Edgar Heap of Birds, James Lavadour, Truman Lowe, Lillian Pitt, Wendy Red Star, Storm Tharp, and Marie Watt, among others."--
This gorgeous volume draws from the vast archives of the National Museum of the American Indian, and features the voices and perspectives of some of the most prominent Native American scholars, writers, and activists. 350 color photographs.
The Brodsky Center at Rutgers: Three Decades, 1986-2017, chronicles the history and artists involved with an internationally acclaimed print and papermaking studio at Rutgers University. Judith K. Brodsky conceived, founded, and directed the atelier, which, from its onset, provided state-of-the-arts technology and expertise for under-represented contemporary artists — women, Indigenous, and from diasporas of the African, Eastern European, Latin and Asian communities — to make innovative works on paper. These artistic creations presented new narratives to American and global visual arts from voices previously not heard or seen. Some of the artists featured in the book include Faith Ringgold, Elizabeth Catlett, Jaune Quick-to-See Smith, Miriam Schapiro, Pepón Osorio, Kiki Smith, and Richard Tuttle, among many other talented and influential printmakers and artists. Published in partnership with the Zimmerli Museum.
A groundbreaking survey of contemporary Indigenous art and its enduring connections to the land The Land Carries Our Ancestors: Contemporary Art by Native Americans brings together works by many of today’s most boldly innovative Native American artists. Jaune Quick-to-See Smith, one of the leading artists and curators of her generation, has carefully chosen some fifty works across a diversity of practices—including weaving, beadwork, sculpture, painting, printmaking, drawing, photography, performance, and video—that share the common thread of the land. This beautifully illustrated book features both well-known and emerging artists, from G. Peter Jemison (Seneca Nation of Indians, Heron Clan) and Kay WalkingStick (Cherokee Nation of Oklahoma/European descent) to Eric-Paul Riege (Diné) and Rose B. Simpson (Pueblo of Santa Clara, New Mexico). Smith brings her personal perspective to the Native American experience and Indigenous connections to the land. In her essay, heather ahtone examines the history and practices of landscape art, shedding light on how it is both a tool for self-expression and a means to understanding the natural world. Celebrated poet and memoirist Joy Harjo pays homage to the land in her poem “Once the World Was Perfect.” Shana Bushyhead Condill discusses the themes and practices that distinguish these artworks. The Land Carries Our Ancestors: Contemporary Art by Native Americans shares new perspectives on these visionary and provocative artists while offering a timely celebration of contemporary Indigenous art. Published in association with the National Gallery of Art, Washington, DC Exhibition Schedule National Gallery of Art, Washington, DC September 22, 2023–January 15, 2024 New Britain Museum of American Art, New Britain, Connecticut April 18–September 15, 2024
In 1991, the Oregon Council for the Humanities published The First Oregonians, the only single-volume, comprehensive history of Oregon's Native Americans. A regional bestseller, this collaborative project between the council, Oregon tribes, and scholars served as an invaluable reference for teachers, scholars, and general-interest readers before it went out of print in 1996. Now revised and expanded for a new generation of Oregonians, The First Oregonians provides a comprehensive view of Oregon's native peoples from the past to the present. In this remarkable volume, Oregon Indians tell their own stories, with more than half of the book's chapters written by members of Oregon's nine federally recognized tribes. Chapters on each tribe examine lifeways--from the traditional to the present day. Using oral histories and personal recollections, these chapters vividly depict not only a history of decimation and decline, but also a contemporary view of cultural revitalization, renewal, and continuity. The First Oregonians also includes essays exploring geography, federal-Indian relations, language, and art written by prominent Northwest scholars. And, as with the first edition, this new edition is richly illustrated with almost two hundred photographs, maps, and drawings. No other book offers as wide a variety of views and stories about the historical and contemporary experience of Oregon Indians. The First Oregonians is the definitive volume for all Oregonians interested in the fascinating story of Oregon's first peoples.
Art for a New Understanding, an exhibition from Crystal Bridges Museum of American Art that opened in October 2018, seeks to radically expand and reposition the narrative of American art since 1950 by charting a history of the development of contemporary Indigenous art from the United States and Canada, beginning when artists moved from more regionally-based conversations and practices to national and international contemporary art contexts. This fully illustrated volume includes essays by art historians and historians and reflections by the artists included in the collection. Also included are key contemporary writings—from the 1950s onward—by artists, scholars, and critics, investigating the themes of transculturalism and pan-Indian identity, traditional practices conducted in radically new ways, displacement, forced migration, shadow histories, the role of personal mythologies as a means to reimagine the future, and much more. As both a survey of the development of Indigenous art from the 1950s to the present and a consideration of Native artists within contemporary art more broadly, Art for a New Understanding expands the definition of American art and sets the tone for future considerations of the subject. It is an essential publication for any institution or individual with an interest in contemporary Native American art, and an invaluable resource in ongoing scholarly considerations of the American contemporary art landscape at large.
