Canada honors art promoter, sculptor

Inuit art promoter Ryan honoured

Haida sculptor, Quebec filmmaker earn Governor General's AwardsTerry Ryan, who managed the Cape Dorset artists' co-op in Nunavut and is now director of Dorset Fine Arts in Toronto, has been honoured for his 50 years of work in promoting Inuit art.

Ryan won the award for outstanding contribution to Canadian art, a special award given at the same time as the Governor General's Awards for Visual Arts, which were announced Tuesday in Montreal.

The winners of the Governor General's Awards for career achievement in visual or media arts are:

* Haida sculptor Robert Davidson of White Rock, B.C.
* Filmmaker André Forcier of Longueuil, Que.
* Painter Rita Letendre of Toronto.
* Video artist Tom Sherman of Liverpool, N.S.
* Photographer Gabor Szilasi of Montreal.
* Painter Claude Tousignant of Montreal.More on Davidson:He worked for a short time with legendary artist Bill Reid and then studied at the Vancouver School of Art. In 1969, he carved and raised the first totem in 90 years on Haida Gwaii, an event he sees as a watershed in the lives of the Haida.

"Looking back, there was no talk about songs and dances until I carved that first totem pole in Masset," Davidson said.

"What that did, it became a catalyst, it was a magnet for all the elders of the time to talk about what had to be done to make the totem pole right."Comment:  For more on artistic honors, see 2010's Best of the West and Alutiiq Mask Carver Is USA Fellow.

Below:  Supernatural Eye, a 2006 aluminum sculpture by Robert Davidson. (Kenji Nagai/Collection of the artist)

Preview of Hide exhibit

HIDE: Skin as Material and MetaphorFor Native people, skin encompasses an entire universe of meaning. Our own skin functions as a canvas that we can inscribe with messages about our identity or use as a shield to protect and hide our secrets. As a material, animal skin or hide has had a long history within Native culture. It is a symbolic reminder of historical misrepresentation, exploitation, and racial politics. The artists selected for HIDE draw upon this subject in multi-faceted ways, using both the material and concept of skin as a metaphor for widespread issues surrounding identity and personal, historical, and environmental trauma and perseverance. In their work, they interrupt our understanding of race, distort our perception of “skin,” and breach the artificial boundaries created by this potent subject matter. Rather than hiding difficult issues, they expose what is beneath the surface.

Sonya Kelliher-Combs, Nadia Myre, and Michael Belmore each present bodies of sculptural and mixed-media work that explore skin as a surface—revealing, concealing, and defining. The work of these artists awakens the senses, drawing the audience into a tactile experience of the materiality of their work as well as making them think about the complex ideas that emerge from this compelling art. The photographers invited to participate in the exhibition—Arthur Renwick, KC Adams, Terrance Houle, Rosalie Favell, and Sarah Sense—have created a diverse collection of portraits that play with and challenge our notions about the representation of Native people.Comment:  For more on NMAI exhibits, see IndiVisible Causes Divisions and Infinity of Nations at NMAI.

Below:  KC Adams, Cyborg Hybrid Cody, 2009, digital print.

Inside Out Haudenosaunee

Contemporary Native American artists at new Nazareth gallery in Pittsford

Native American artists blend time periods in work on exhibit at new Nazareth art gallery

By Stuart LowA pioneering art show at Nazareth College brings age-old Native American designs into the world of iPods and space aliens.

“Inside Out Haudenosaunee” features seven contemporary Iroquois artists with a dual identity. With one foot in tradition and the other in the computer age, they infuse familiar clay and beads with today’s images.

You might find a portrait of a young Mohawk man with a nose ring, headphones and Ozzy Osbourne sunglasses. Another picture will make you ask: Why’s that Seneca woman flying over giant Budweiser billboards in Times Square?

“These 21st-century images reflect who the Seneca are today,” says Cathy Sweet, director of Nazareth College Arts Center’s new gallery. “But the notion of displaying their art in a white, contemporary gallery like ours is new to them.”
Comment:  For more on modern Native art, see Two Views of The Way of the People and Currents at University of Northern Colorado.

Below:  "Black Flint" by Alex Jacobs at Nazareth College's "Inside Out Haudenosaunee" exhibit.

Native designs on Dutch uniforms

Native artist brightens up Team Netherlands

Snowboarders honoured by City Hall, patriotic poet to perform at bookstore

By Kelly SinoskiFirst nations artist Alano Edzerza has made his mark on the Olympics with his designs appearing on the uniforms of Team Netherlands for the Olympics and at Canada Hockey Place.

Edzerza, who is well-known for working in a variety of media, created an "artful and spiritual interpretation of the Eagle's wings" on the sleeves of the uniforms to bring the team luck. The Dutch had snagged six medals by Wednesday morning, including three golds.Comment:  For related subjects, see Sho-Ban Artist Designs Helmet and Musqueam Design on Team Canada Jerseys.

Below:  "Artist Alano Edzerza with 'Making Waves' at his gallery." (Glenn Baglo, PNG, Vancouver Sun)

2010's Best of the West

True West magazine's 2010 Best of the West includes a few Indians:

Best of the West Winners 2010

Our eighth annual awards honoring those who are doing their best to keep this grand old region's traditions alive.BEST LIVING WESTERN SCULPTOR
Bruce LaFountain

The fact that Bruce LaFountain placed second in the Cast Metal category at the prestigious Santa Fe Indian Market in 2009 didn’t surprise anyone. Yet this Chippewa Indian—he grew up on the Turtle Mountain Reservation in North Dakota but now creates out of Salt Lake City—doesn’t create art for awards, though he has many. His abstract sculptures seem to be always moving, which might come from his childhood memories of dancing in powwows. LaFountain is brash and forthright: “The motivation for my work does not stem from wanting to win a show or from money,” LaFountain says. “It evolves from the spirit of my ancestors and my own deep spiritual feelings.” Well said, sir.

BEST LIVING INDIAN RIGHTS CRUSADER
Charmaine White Face

She is a voice for the Black Hills—and it’s a task Charmaine White Face has gladly undertaken for more than two decades, as a columnist for several newspapers and an activist. She formed Defenders of the Black Hills in 2002, working to end logging, mining and exploitative tourism of this area, which is sacred to her Ogala Sioux tribe. Her work has received international recognition, and she hopes that will help return the Black Hills to its rightful owners—the American Indians.

READERS’ CHOICE: Russell MeansPlus a few winners with Native connections:BEST PRESERVATION EFFORT IN THE WEST
Mission San Miguel

Northern California’s Mission San Miguel, found along the historic El Camino Real Trail, had stood for more than 200 years when an earthquake hit the area in 2003. The adobe building suffered structural damage and cracks, and was closed. Over five years, the local Roman Catholic Diocese steadfastly raised about $10 million and drew up repair plans to restore the historic mission. In September 2009, the mission reopened! More needs to be done, and up to another $5 million must be acquired, but for historians, tourists and churchgoers, the progress to this point is a prayer answered.

BEST HISTORIC (100+ YEARS) BUSINESS IN THE WEST
Pendleton Woolen Mills

Back in 1909, the Bishop brothers bought an old mill in Pendleton, Oregon, and decided to try their hand at a traditional craft—creating wool Indian blankets. In opening their mill, the Bishops built on the sheep textile mill foundation weaved together by Thomas Kay, who came from England to Oregon in 1863. The high-quality products made at Pendleton Woolen Mills were marked by intricate patterns and vivid colors, and local tribes immediately took a liking to them. Then everyone else picked up on the Pendleton blankets too. Soon after, the mills expanded into the apparel market. The Bishop family still runs the operation, making sure the tradition continues strong today.

BEST DOCUMENTARY
National Parks: America’s Best Idea by Ken Burns for PBS

Ken Burns, America’s foremost documentary filmmaker, is either getting better or his decision to honor our spectacular National Parks came from someplace deeper, because this is his best and most heartfelt work. While the geography and beauty of the National Parks are central to the 12-part series, the heart of the documentary are those individuals, from the high born to the hardscrabble poor, who played important roles in isolating and preserving the American wilderness. It’s a great story, and if you missed the broadcast on PBS in September 2009, the entire show can now be purchased in a box set.

BEST WESTERN COMIC/GRAPHIC NOVEL SERIES
Jonah Hex

Jonah Hex has been around for decades, and he’s suffered indignities that few comic characters could survive, including a stint as a monster fighter in the future and as a stuffed exhibit in a theme restaurant. But surviving is what the horribly scarred bounty hunter does best. For the last several years, at the hands of writers Jimmy Palmiotti and Justin Gray, and an amazing number of creative artists at DC Comics, Hex has kept in front of a number of recent Western comics, all of which are pretty good. Look for the Jonah Hex movie in 2010.Below:  Big Water by Bruce LaFountain.

Unreserved trailer

Unreserved: The Work of Louie Gong“UNRESERVED” is an intimate profile of artist Louie Gong (Nooksack Indian, Squamish, Chinese, French, Scottish) who has long worked as an activist on mixed racial identity. In March 2009, he began merging Coast Salish design with pop culture art to create custom skate shoes that represent his complex cultural identity and the concept of “walking in two worlds.” While many are drawn to his shoes because they represent the confluence of multiple worlds, others simply appreciate the shoes’ freshness and originality.

Comment:  I watched the 0:52, 1:25, and 2:54 versions of this trailer. Sorry, but none of them grabbed me. Maybe it was the cool jazzy music, which doesn't seem the right choice for a video about shoes and skateboarders. Or the extended shots that gave the video a leisurely pace.

I watched the longest video first without knowing if it was the whole thing or just a trailer. When it was done, I thought, "Okay, it's done. I don't need to learn any more about the shoes."

Maybe this is because I've already read a lot about Gong and his shoes. Maybe it's because a few million Indians also have stories about "living in two worlds." If I'm going to listen to another of these stories, it has to be different...compelling...unique.

For more on the subject, see Gong's Shoes in Fashion Showcase and Gong's Shoes Take Off.

Lewis lithographs in Littleton center

Early lithographs of Native American leaders on view at Indian Hill Music in Littleton

By Margaret SmithIn the 1820s, when much of the United States was still wilderness, native peoples carried with them a history already very old by the time European settlers arrived.

Artist Joseph O. Lewis didn’t set out to help preserve that history, but that is part of his mysterious legacy.

Indian Hill Music in Littleton is hosting an exhibit of Lewis lithographs, on loan from a collection at Fruitlands Museum in Harvard.

The exhibit,” Joseph O. Lewis: Lithographs of American Indians, 1825 to 1827,” consists of eight lithographs from the 44 in Fruitlands’ collection, chosen for artistic merit as well as the insight they provide to native dress and culture.

They are believed to be the first published lithograph portraits of indigenous American peoples.And:Volmar said it was also a time before stereotypes of native peoples had fully formed. Iconic images of men in majestic, feathered regalia did not appear in popular culture until the late 19th century, and are only indicative only of certain peoples, such as some peoples of the Midwestern plains.

Exhibit organizers hope the exhibit will help break down these stereotypes and foster understanding of the diversity of native culture.Comment:  Nothing stereotypical about the figure below. Even his name isn't stereotypical. No Black Wolf or White Eagle here.

I've written before about how the Plains Indian stereotypes didn't become commonplace until the mid-19th century. This posting confirms that point. For more on the subject, see A Brief History of Native Stereotyping.

Below:  Waa-Na-Taa, or, The Foremost in Battle, chief of the Sioux tribe, by Joseph O. Lewis.

Illustrious at Heard Museum

Heard Museum opens new exhibit

By Kate CrowleyIllustrious: American Indian Artists’ Books and Illustrations opens Saturday, March 27 at Heard Museum North Scottsdale, showcasing established and emerging artists who are making innovative and sometimes unconventional art with books.

American Indian illustrators have made art to accompany books and other media for more than a century. Artists’ books are one-of-a-kind or small edition works of art that explore the boundaries of printed and bound books. The combination of American Indian picture and word based on personal experience and cultural heritage create imaginative narratives.Comment:  For more on the subject, see Native American Picture Books of Change and Eagle Books Promote Healthiness.

Below:  Hoke Denetsosie, Navajo, b. 1919. Untitled, c. 1950. Heard Museum purchase. Watercolor, paper and posterboard.

Art show for missing Aboriginal women

Saskatoon art show focuses on Canada's missing aboriginal women

By Rory MacLeanArtists are calling Saskatoon's attention to the number of missing and murdered aboriginal women in Canada through a show that opened Monday at The Centre mall gallery.

The show, 'Healing through Art and Culture', includes the national travelling quilt from the Native Women's Association of Canada (NWAC) and a display of works by local aboriginal artists, including two pieces from the Saskatoon Community Youth Arts Program. It is organized by the local group Iskwewuk E-wichwitochik, which means "women walking together" in Cree.Comment:  For a similar effort, see Tiles to Represent Boarding-School Victims.

Below:  "Marlee Ritchie stands beside a quilt dedicated to missing and murdered aboriginal women." (Greg Pender, StarPhoenix)

2010 Census art competition

NCAI sponsors 2010 Census art competition

By Gale Courey ToensingThe National Congress of American Indians is sponsoring the NCAI Art Competition in its ongoing efforts to publicize and promote participation in the 2010 Census.

The contest is open to American Indian, Alaska Native and Native Hawaiian students all over the country in preschool through postsecondary school. Students are asked to submit artwork related to the theme, “2010 Census: Our People. Our Nations, Our Future.” Winners will receive prizes and national recognition.Comment:  For more on the subject, see Today's Native Population.

Gong's shoes in fashion showcase

Fashion footwear grounded in Coast Salish art

Over the past year, using sharpies and pencils, Louie Gong has transformed Vans shoes into culturally inspired works of art. Now his shoes will be part of a runway show during the Olympic Games.

By Lornet TurnbullThis week, the 36-year-old will be one of eight Native designers from across North America participating in an aboriginal fashion show during the Olympic Games.

In fact, the educational-resource coordinator at Muckleshoot Tribal College in Auburn is one of only a few Native people from the U.S. who will participate in a slate of events over the next two weeks organized by the Olympic Games' Four Host First Nation coordinators.

The Aboriginal Fashion Showcase is scheduled for Vancouver Community College; it started Friday and runs through Tuesday.Comment:  For more on the subject, see Gong's Shoes Take Off and Eighth Generation's Custom Shoes.

Below:  "Louie Gong will show his hand-painted shoes in the Aboriginal Fashion Showcase in Vancouver."

Native art on Olympic medals

Winter Olympics 2010 Medals Made From Recycled Electronics

By Amar ToorWinter Games officials have unveiled the design of the new medals in all their resplendent, curvaceous glory, and the chorus of "oohs" and "ahhs" has been heard 'round the world. Besides their uniquely undulating shape (said to reflect the Vancouver landscape), the ponderous prizes also have novel origins--crafted, so we're told, from melted circuit boards. Created by Canadian artists Corrine Hunt and Omer Abel, the gold, silver, and even Cindy Brady bronze treasures weigh over a pound each, are designed with laser-etching to ensure that no two are exactly alike, and are all composed of materials reclaimed from electronics.A video on making the medals:

Les médailles

On Facebook, the NMAI adds:Did you know that the medals featuring the orca for the 2010 Winter Olympics were designed by Corrine Hunt, a Canadian designer/artist of Komoyue and Tlingit heritage based in Vancouver, BC?Comment:  I didn't know the Olympics designed new medals for every set of Games. I thought the medals had a traditional, standard design.

For more on Natives in the Olympics, see Aboriginal Performers in Opening Ceremony and Native Participation in 2010 Olympics.

Two views of The Way of the People

Kindred Spirits

Two Navajo painters explore their culture from contrasting perspectives

By Kat NicholsOne’s contemporary, one’s traditional. One’s brilliantly colored, the other more subtle. Two very different pictures—both handling the same subject matter—but from two very different men who will display their work together for the first time and present a taste of the yin and yang of Native American art.

The Echo Canyon Art gallery will be featuring the work of Navajo painters David K. John and Charley Singer in their upcoming show “The Way of the People.” It is the first time since opening their doors in 2008 that Echo Canyon Art has had Native American artists prominently displayed.Comment:  These artists have an interesting contrast in styles: bold and vibrant vs. moody and atmospheric. Based on the examples at the link, I give John's work the edge. But with a different set of examples, I might give Singer the edge.

For other contemporary Native artists, see Mural Commemorates Ojibwe Rescuer, Marketing Minnesota's Native Artists, and IN/SIGHT 2010 at Chelsea Art Museum.

Below:  "Dragon Fly Chanter" by David K. John.



"Yei Bei Chei" by Charley Singer.

New Will Sampson book

New Book Showcases Actor Will Sampson’s Life and Art

Now for the first time, fans and Western art enthusiasts can meet the real Will "Sonny" Sampson in a beautiful coffee table book, Beyond Cuckoo’s Nest–The Art and Life of William Sampson, Jr.Known for his unforgettable role as Chief Bromden in One Flew Over the Cuckoo’s Nest, William Sampson, Jr. entertained and moved audiences in numerous films, TV shows, and on stage. But his most important role was one that he played all of his life, that of Indian cowboy and artist.

Now for the first time, fans and Western art enthusiasts can meet the real Will "Sonny" Sampson in a beautiful coffee table book, Beyond Cuckoo’s Nest–The Art and Life of William Sampson, Jr.

Illustrated with photographs of more than 50 paintings and over 70 sketches, the originals which are in private collections, the poignant book takes the reader on a rare and tender journey. The 200 glossy pages begin with a three-year-old-boy drawing in the dirt, taking the reader all the way to the 6′ 5" actor, whose talent and charm influenced many.

The Muscogee Creek Indian also holds a special place in American history. Together he and the book’s author started the American Indian Registry, forever changing how Native Americans are viewed in Hollywood.

"Painting is my life," he said. "I am first, last and always a painter."

Indeed, Will Sampson claimed that acting supported his painting habit.Comment:  For more on the subject, see Will Sampson Gets Medallion and The Best Indian Movies.

Mural commemorates Ojibwe rescuer

The Hero of Hinckley

By Leif EngerA new mural commemorating the great Hinckley Fire of 1894 has been unveiled at the Hinckley Community Center. The fire produced a firestorm which incinerated hundreds of square miles and killed more than 400 people. The mural, by Ojibwe artist Steve Premo shows the historic rescue of a family by a young Ojibwe woman, whose identity has only recently been discovered.Identifying the rescuer:Coffee: It was a bit like finding a needle in a haystack. But through census records, through some documentation at the government center in Mille Lacs, we not only found her but found out who her mother and father were. We know she was a Mille Lacs Band member. She was an only child. Her full name was Mahkahdaygwon. Her English name was Katherine Wadena McDonnell.What the painting shows:The painting shows two young women, four blanketed children--McDonnell had two of her own. Scared, determined, they stand in the black waters of Grindstone Lake under incandescent clouds. McDonell is shielding Frank Patrick, the smallest of the children. Steve Premo, himself Ojibwe, calls it a story of racial unity right for contemporary times.Comment:  Steve Premo was the artist on A HERO'S VOICE and DREAMS OF LOOKING UP, the two Ojibwe comics I often mention. I haven't heard much about him since he drew the comics, so it's good to see his other projects.

Below:  "Premo's work is darkly radiant, almost stifling. Looking at it makes you loosen your collar."

Sho-Ban artist designs helmet

Speed Thrills in Contest for Vonn’s Helmet

By Bill PenningtonThe American alpine racer Lindsey Vonn held a public contest to design the helmet she will wear at the Vancouver Games, and she announced Thursday that the winning entry belonged to Laddie Lee Whitworth, a 60-year-old retired machinist from Pocatello, Idaho.

Two of the other three finalists were professional designers or artists, but Whitworth is an amateur artist who worked for 37 years in a cement factory. He is also a member of the Shoshone-Bannock Tribes at Idaho’s Fort Hall reservation.

Whitworth’s design is red, white and blue, with flames flowing from front to back, like something on the fenders of a drag racing car. There is an American flag just over the helmet’s brow.Comment:  For more on Native art at the Olympics, see Aboriginal Art Bottle Program and Musqueam Design on Team Canada Jerseys.

Marketing Minnesota's Native artists

Commentary
Minnesota's Native art is an underused resource

By Marcie Rendon, Ann Markusen[M]ost museums and galleries do not exhibit or buy Native work, and most performance spaces do not host Native musicians or actors.

There are exceptions: Two Rivers, Ancient Traders and Todd Bockley's galleries in the Cities. Fargo's Plains Museum, the University of Minnesota Duluth's Tweed, and the Weisman on the Twin Cities campus of the University. Patrick's Cabaret for performance. Bemidji State, Leech Lake Tribal College, and University of Wisconsin Superior for annual art shows.

Most tribal-managed spaces, like casinos, gifts shops and hotels, do a poor job at commissioning and presenting work by their resident artists. But here too there are pioneers. The Mille Lacs Band has commissioned work by Steve Premo for its casino walls and hosted a competition among Native artists for hotel room paintings.

The Fond du Lac human services complex hangs contemporary Native artwork in every room, purchased with a dedicated share of its building fund, because, as its director states, "art is essential to healing." The Mahnomen Shooting Star Casino's gift shop displays Native artists' one-of-a-kind work prominently (and makes more money than others in the state). Grand Portage and Fond du Lac casinos occasionally host Native performers.Comment:  For more on the subject, see Casinos Promote Culture.

Modern Indians anger museum goers

Gover addresses 'White Man's Indian' in Canby lectureGover said that Indians are damaged by allowing others to define them, which continues to this day.

"It puts us in a box," Gover said. "I'm stunned by the number of people who are angry when they come to the museum and see it is about Indians who are still here, rather than Indians who used to be. They think modern Indians aren't real Indians because we're not like we were when Columbus set foot here."

Gover uses artists as an example.

"Any Native artist using modern media for their work is criticized," Gover said. "People say, 'That's not Indian art.' Even though it's an Indian making a statement about Indians. The media the artist chooses to use becomes disqualifying. It's crazy, and it's insulting.

"It's like saying it isn't legitimate unless it is the same way you were doing things in 1492," he said. "They wouldn't ask it of anyone else. They wouldn't say, 'You can't be a White man unless you're wearing knickers and tails. It's unique to Indians."

Being defined by others extends to sports mascots, where Indians are "honored" for their bravery.

"Why don't they honor us for being smart, creative, for all kinds of different things?" Gover asks. "Why choose the one? It tells us that you're stereotyping. You can't be Indian unless you're brave, whatever that means. It's ridiculous. It's just a tiny part of what Indians were and are."Comment:  The most interesting point here is the first one: how attendees get mad when the NMAI doesn't fulfill their expectations of stereotypical Indians. I suspect this anger plays a larger role than we realize.

For instance, when you tell people their Indian mascots are stereotypical, what do they do? Do they actually think about it, do some historical research, try to justify the stereotypes somehow? No, they lash out. They tell you they're "honoring" Indians, that you're being too "sensitive," that it's just "harmless fun."

In other words, they don't engage in the actual issues. They turn an intellectual question into an emotional one. "We love our mascot! We've had it forever! You're not taking it away from us!"

Essentially they're reacting like little children when you tell them they can't have a toy or a pet. The typical spoiled brat doesn't take it calmly; he screams and throws a tantrum. Whatever "reason" the whiner comes up with is illogical and insufficient. It amounts to nothing more than "I want it!"

For more on the subject, see Team Names and Mascots.

Below:  Kevin Gover, an example of a modern Indian who angers non-Indians.

Art examples in Currents

Examples of the art on display in Currents: Native American Forces in Contemporary Art at the University of Northern Colorado Galleries:

American Indian art shows its many facets

Exhibition at UNC dispels notion of a monolithic culture

By Kyle MacMillanNo piece more directly and succinctly speaks to the evolving identities of today's American Indians and the cultural pre-conceptions that surround them than "Tsu Heidei Shugaxtutaan," a sly video work by Nicholas Galanin of Sitka, Alaska.

In the first part, a dancer in street clothes in some nondescript room realizes an undulating contemporary solo to traditional Indian chant and drumming.

In the second part, a dancer in traditional ceremonial garb complete with a bird mask performs before a backdrop with classic Northwest Coast Indian designs. But confounding expectations, the music is a techno track.

The technical quality of the piece might be less than desirable, but the point is clear: There is no monolithic American Indian culture. Like every other group, Indians are highly diverse and ever-changing.

Other highlights:

"My Balls, My Beads," urethane foam, rope, oil and spray paint. Brooklyn artist Jeffrey Gibson offers an updated take on a centuries-old component of Indian art: beads. He has strung 13 multicolored balls, each about 18 inches across, on a rope that stretches down from the ceiling and onto the floor, creating an eye-grabbing installation.

"Staff: Custodian," cast bronze. Blankets, which had an important place especially in the history of nomadic tribes, run through the work of Marie Watt of Portland, Ore. This spindly, 4-inch-square totem, which reaches nearly 10 feet in height, consists of dozens of carefully folded sections of blankets that have been stacked and then cast in bronze.

Infinity of Nations at NMAI

National Museum of the American Indian in New York to Inaugurate a Permanent, Hemispheric Survey of Native American ArtA spectacular, permanent exhibition of 700 works of Native art from throughout North, Central and South America will open Saturday, Oct. 23, at the Smithsonian’s National Museum of the American Indian in New York, the George Gustav Heye Center. Organized by geographic regions, “Infinity of Nations: Art and History in the Collections of the National Museum of the American Indian” will demonstrate the breadth of the museum’s renowned collection and highlight the historic importance of many of these iconic objects.

Five years in the making, “Infinity of Nations” will establish the museum as an educational cornerstone for the city, providing an expansive overview of Native America. The exhibition will also provide the foundation for eight seasons of public programs, each celebrating a different region and revealing the richness and diversity of indigenous nations.

Chosen to illustrate the geographic and chronological scope of the museum’s collections, the objects have been meticulously conserved and will be displayed in custom casework by the acclaimed Laborotorio Museotecnio Goppion of Milan, Italy.

“Infinity of Nations” will open with a display of headdresses, signifying the sovereignty of Native nations, including a magnificent Kayapó krok-krok-ti, a macaw-and-heron-feather ceremonial headdress. Focal-point objects, representing each region, will include an Apsáalooke (Crow) robe illustrated with warriors’ exploits; a detailed Mayan limestone bas relief depicting a ball player; an elaborately beaded Inuit tuilli, or woman’s inner parka, made for the mother of a newborn baby; a Mapuche kultrung, or hand drum, that depicts the cosmos; a carved and painted chief’s headdress depicting a killer whale with a raven emerging from its back, created and worn by Willie Seaweed (Kwakwaka’wakw); an anthropomorphic Shipibo joni chomo, or water vessel from Peru; a Chumash basket decorated with a Spanish-coin motif; an ancient mortar from Pueblo Bonito in Chaco Canyon, N.M.; a gourd carved with a detailed picture of the Battle of Arica by Mariano Flores Kananga (Quechua); and an early Anishinaabe man’s outfit complete with headdress, leggings, shirt, sash and jewelry. The exhibition will conclude with works by Native artists such as Allan Houser (Warm Springs Chiricahua Apache) and Rick Bartow (Mad River Wiyot).Comment:  For more on the NMAI, see Digital Fire Pit at NMAI and NMAI:  5 Years in 4 Minutes.

Below:  The Smithsonian’s National Museum of the American Indian at the George Gustav Heye Center in New York.

"Authentic Aboriginal" label introduced

B.C. native groups unveil 'authentic' logo

Businesses must be native-owned; operate to high standards

By Mark HumeIt took 12 years to work out a process that was acceptable provincewide, but 60 native organizations in British Columbia have finally agreed on a way to designate goods and businesses as culturally authentic.

A new seal was unveiled at a news conference Monday that is being awarded to native-run enterprises that pass a rigorous screening by the Aboriginal Tourism Association of B.C. Native leaders say the logo, which features the words “Authentic Aboriginal” framed by an eagle feather and human eye motif, will promote quality control and allow consumers to easily identify genuine native products.

The seal can be granted only to native owned and operated businesses, so it would not have headed off the controversy that emerged last week when VANOC was criticized by a Squamish Nation artist for selling aboriginal items, such as T-shirts and baseball caps, that were printed outside Canada. The Four Host First Nations have dismissed the criticism of VANOC as unwarranted because all the art was done by natives, although the mass reproduction of some items was done by non-native businesses.And:The first businesses to win approval under the program are the Haida Heritage Centre, in Skidegate; the Nk'Mip Desert Cultural Centre, Osoyoos; the St. Eugene Golf Resort and Casino, Cranbrook; the ‘Ksan Historical Village, in Hazelton and the Squamish Lil'wat Cultural Centre, in Whistler. Although those are all large-scale tourism businesses, Ms. Battel said individual artists or small galleries can also apply for the right to use the seal.Comment:  The host nations' dismissal of the criticism is rather facile and self-serving. If products are designed by Natives but manufactured by non-Natives, it's easy to see why some people might be upset. The host nations' position is defensible, but don't pretend there's no basis for a controversy.

The same issue crops up in Native art throughout the US, especially in the Southwest. For instance, if a Navajo carves a katsina (kachina) based on a Hopi design, is it an authentic Hopi katsina? Most Hopi carvers and Indian art dealers would say no, but the Olympics Host Nations apparently would say yes.

For more on Native tourism, see Aboriginal Tourism in British Columbia and Nine Native Cultural Centers to Visit.

Currents at University of Northern Colorado

Seven artists channel Native American legacyGreeley and northern Colorado have a rich link to Native American history. A new exhibit at the University of Northern Colorado features the work of seven contemporary artists who explore Native American legacies in wildly differing ways.

“Currents: Native American Forces in Contemporary Art” opens Jan. 11 and will be on display through Feb. 17 at UNC's Mariani Gallery in Guggenheim Hall and Oak Room Gallery in Crabbe Hall.And:Artists featured in the exhibit include Norman Akers, Nicholas Galanin, Jeffrey Gibson, Jaune Quick-To-See Smith, Marie Watt, Will Wilson and Melanie Yazzie. Their works present a broad landscape, from Akers' surreal oil paintings that conjure up the mysticism of the ancient people to Wilson's deliberate counter-narrative to romantic visions of Native people in his photographic series, “Auto Immune Response,” depicting a postapocalyptic future.

“A common thread, however, is found in the exploration of cultural identity, traversing between native heritages and life in the 21st century,” a release describing the exhibit said. “These artists neither exist nor create art in the vacuum of a singular society, but flow through the many influences of contemporary life and art.” The exhibit is part of Voices of the Americas, a collaboration of UNC and the community.Comment:  For a related exhibit, see IN/SIGHT 2010 at Chelsea Art Museum.

Below:  Threshold (2007) by Oregon artist Marie Watt. Superficially it looks like Indian ribbons in a target, an obvious but interesting theme. I'm sure it has more levels of meaning, but I don't know what they are.

IN/SIGHT 2010 at Chelsea Art Museum

Chelsea Art Museum Presents Group Show of Contemporary Art by American Indian ArtistsUNRESERVED Alliance is pleased to announce "IN/SIGHT 2010," an exhibition of art by American Indian artists, curated by Clarissa Dalrymple and UNRESERVED co-founder Michael Chapman. The exhibition is a survey of work by both emerging and established artists working in various media. Twenty-four artists spanning several generations are represented in the show. "IN/SIGHT" will be on view at the Chelsea Art Museum from January 14 through February 13.

The work ranges across the entire spectrum of contemporary practice from painting and photography to sculpture, video and mixed media installation. Superficially it might resemble any broad ranging survey of contemporary artists, except that there is a subtle pervasion of sensibility and spirit unique to the American Indian experience that lends the work rich additional dimensions of iconography, mythology, historical reference and skill traditions--dimensions that surprise and delight again and again. This cultural resonance notwithstanding, these are contemporary artists in the fullest and most universal sense. Chapman says, "'With IN/SIGHT 2010', we are trying to make sure that the talented, lively and relevant American Indian voices are part of the contemporary art dynamic here in the U. S. art capital."Below:  Exploding Star (1999) by Gail Tremblay. This is reminiscent of Indian swastikas or petroglyphs representing the sun or stars.

Aboriginal Art Bottle Program

Aboriginal artist earns unique Olympic spotlight

By Shelley CookSince she was old enough to pick up a paintbrush, Winnipegger Jackie Traverse knew she would be an artist. Her destiny was confirmed Monday when she received national honours for art that will be displayed at the Vancouver Olympics.

The 40-year-old mother of two daughters is the only Manitoban Coca-Cola selected in their Aboriginal Art Bottle Program.

The program will showcase the work of 15 aboriginal artists from across Canada who created art from giant-sized Coca-Cola bottles.

Traverse, who is of Anishinabe descent, said she was inspired to paint her bottle, entitled Nokomis Mikinaak--Mother Turtle, from one of seven sacred aboriginal teachings. Her bottle, which is about two metres tall, will be unveiled at The Forks National Historic Site on Jan. 5.Below:  "Jackie Traverse says the inspiration for her art comes from her life experiences." (David Lipnowski/Winnipeg Free Press)

Remember Them includes Indians

Oakland to honor 25 leaders in huge sculpture

By Carolyn JonesOakland's version of Mount Rushmore will rise this year in an Uptown park: a towering, ponderous monument to great leaders that organizers hope will inspire schoolchildren and awe tourists.

The $7 million monument, "Remember Them," features 25 famous people who fought for peace or human rights. They're an unlikely crew, ranging from Winston Churchill to Malcolm X to Harvey Milk to Mother Teresa, soon to be joined in eternity.

The monument, to be installed in a park next to the Fox Theater, will be one of the largest bronze sculptures in the United States. It will be three stories tall, weigh about 25 tons and span 90 feet--a third the length of a football field.The list of leaders from the statue's official website:

Abraham Lincoln
César Chávez
Coretta Scott King
Elie Wiesel
Franklin Delano Roosevelt
Frederick Douglas
Harvey Milk
Chief Joseph
Malcolm X
Martin Luther King Jr.
Maya Angelou
Mahatma Gandhi
Nelson Mandela
Oskar Schindler
Ralph Abernathy
Unknown rebel of Tiananmen Square
Rigoberta Menchú Tum
Rosa Parks
Shirin Ebadi
Susan B. Anthony
Mother Teresa
Thich Nhat Hanh
Winston Churchill
Helen Keller
Ruby Bridges



Comment:  This is a great list of people to honor. And with two of the 25 slots, Indians are getting their fair share of attention.

I like the sculpture's look, too. The heads emerging from a towering mass--as if they're emerging from a multitude of people who also worked for peace and human rights.

Some commenters on this article called the sculpture a waste of taxpayers' money. Apparently they didn't or couldn't read the part about its being funded with private donations. And some complained about the omission of Jesus and other Christian figures. Obviously the sculpture represents the modern era (since the Civil War), not all of human history.

My only criticism is that there are too many representatives from the black Civil Rights movement (six) and too few from outside the US (eight). Looking at a list of Nobel Peace Prize winners and others, the monument could've included Jimmy Carter, Pope John Paul II, Kofi Annan, Aung San Suu Kyi, the Dalai Lama, Lech Walesa, Andrei Sakharov, Dag Hammarskjöld, and Albert Schweitzer. The inclusion of people who fought for the Jews against the Nazis is good, but the monument should include people who fought Communism as well.

For more on monuments, see Best Indian Monuments to Topple.

Below:  "Artist Mario Chiodo admired Abraham Lincoln enough to give him center stage in one of his 'Remember Them' monuments. Others in this piece include Rigoberta Menchu Tum, Cesar Chavez, Malcolm X, Sir Winston Churchill and Susan B. Anthony."

(Photo: Lance Iversen/The Chronicle)

Indian self-portraits in Hokah!

Inside out:  Indian self-portraits

American Indian artists show the reality of contemporary life in self-portraits. "Hokah!" is a lively and insightful show.

By Mary AbbeAmerican Indians are sensitive about portraits because their public image has so often been shaped by outsiders who tend to stereotype, romanticize, historicize, idealize or barbarize them.

"Self-portraiture gives American Indian people the power to reflect back what we see in ourselves, and to put ourselves within a context that the general public is not used to seeing, thereby overcoming these stereotypes," guest curator Carolyn Lee Anderson explains in an introduction to the show.

While the "Hokah!" portraits include some trappings of traditional Indian life--canoes, horses, mountain landscapes--they're noteworthy for their contemporary edge. There are more black hats and sunglasses than feathered headgear and beaded necklaces. This is now, not then.

Minneapolis painter Robert Two Bulls, an Oglala Lakota Oyate who is an Episcopal minister, addresses the stereotyping directly in "Chief What-They-Want-Me-To-Be," a Pop-style caricature of a grizzled, blanket-wrapped Indian wearing a feathered headdress and staring at the sky. Three puffy clouds, floating overhead like empty speech bubbles, amplify the point that such images are cartoon simplifications of Indian identity today.Comment:  For another art exhibit, see Migrations at the Pequot Museum.

Below:  Artist Jim Denomie's self-portrait, "Sustenance."