Bigindicator

Museum of Contemporary Native Arts

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The Stereo, the Type

by Lauren Tresp
The words “Native American ceramic vessel” most likely bring to mind images of earthy red clay painted with elaborate patterns in black and white, or perhaps incised. The images the words conjure, it could be said, are stereotypical. However, the ceramic vessels created by contemporary Native American artist Cannupa Hanska Luger are stereotypes of an entirely different order: for one, they are actually stereos. Specifically, they are sculpted boomboxes adorned with “Indian” accoutrements—feathers, bits of fur, dream catchers, and various other found objects—signifying specific “t... [more]
Posted by Lauren Tresp on 12/13/13
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Watchlist Artist: Jeff Kahm

In the solo exhibition VERNACULAR, artist Jeff Kahm explores geometric structures, such as stripes, as an effective vehicle for exploring compositional variations. Kahm culls examples from all cultures to show that these forms played a major role in the geometric styles and development of aesthetics of early history and it is precisely in their use as symbols that geometric configurations persist.  Various Indigenous cultures use abstract and geometric motifs not only for visual aesthetics (as a visual language) but to create meaning – meanings that symbolically represent the physical and socia... [more]
Posted by Abhilasha Singh on 12/19/12
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Mohawk Rattles

In the exhibition, Mohawk artist Richard Glazer-Danay reflects upon traditional material culture and sources new materials to make rattles relevant to culture and ceremony in the 21st century.  Rattles are instruments still employed in scared rituals among Native Americans and are commonly made from natural materials such as animal horns, bark, shell, bones, stones and gourds. At the beginning of the 19th century, man-made materials were integrated into the rattles – like the Calumet baking powder tin can that sometimes replaced traditional materials in function, not spirituality.  Glazer-Danay m... [more]
Posted by Abhilasha Singh on 2/12/12
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Solo Show

Having grown up on the Crow Indian Reservation, artist Wendy Red Star always had a fondness for the broken down reservation cars that litter the landscape. Often these cars are viewed as blemishes that indicate laziness, poverty, and a deficiency in education. However, Red Star has come to recognize the abandoned vehicles as objects of beauty that represent a resilient and proud community that overcomes obstacles to keep its culture alive. Wendy Red Star’s work explores the intersection between life on the Crow Indian reservation and the world outside of that environment. She thinks of herself as a... [more]
Posted by Abhilasha Singh on 2/12/12
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Keeping Score

Counting Coup is a form of prestige, pride and power. “Counting coup” is an expression originating from Plains Indian tactics of intimidation, and an act of bravery that accounts for survival originating from personal victories in non-violent battle exploits. The evidence of confrontation, interaction, and risk encountered through incessant forms of colonization are recorded as experiences and achievements etched in memory, heart and spirit. Counting Coup considers the maker’s mark as a means of action and recognition through the guise of an exhibition of contemporary constructions that conside... [more]
Posted by Abhilasha Singh on 11/13/11
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Conceptual Installation

C. Maxx Stevens’ exhibition is a conceptual installation. The new work by C. Maxx Stevens is based on her memories and experiences dealing with devastating effect of diabetes throughout native nations. The exhibition would create a larger social awareness of the epidemic and its dilemma in all of the United States. The exhibition will include her family archives and testimony/narratives of the disease and its impact on traditional values and the drastic evolution of diet as well as economy. About the artist: C. Maxx Stevens, Muscogee/ Seminole, received the prestigious Eiteljorg Fellowhip o... [more]
Posted by Abhilasha Singh on 12/4/11
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Lucy Lippard & Jolene Rickard: January 28th

A conversation with Jolene Rickard and Lucy Lippard is presented in collaboration with the Santa Fe Art Institute (SFAI). An engaging cross-cultural dialogue providing unique perspectives on their ongoing contributions to the field, this program coincides with and compliments MoCNA’s exhibitions and is partnership with SFAI to build Santa Fe’s arts community. Jolene Rickard is a visual historian, artist, and curator interested in the issues of Indigeneity within a global context. She is currently a recipient of a Ford Foundation Research Grant and is conducting research in the Ameri... [more]
Posted by ArtSlant Team on 1/24/11
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Re-imagining Kateri Tekakwitha

        Nineteen artists reflect, re-examine and/or critique the phenomenon of Kateri Tekakwitha (Mohawk), prominent “saint” figure among the converted. The exhibition re-imagines Kateri through an Indigenous lens that includes re-contextualizing history and the impact of convergence that shifted religion, tradition and cultural practices across North America.Artists include: America Meredith, Walter K. Scott, Rosalie Favell, George Littlechild, Jason Garcia, Tammy Rahr, Julie Buffalohead, Dyani Lyn Reynolds-White Hawk, Anita Fields, Ross Montour, Marcella Ernest, Rita Iringan, Deborah Joj... [more]
Posted by Abhilasha Singh on 1/16/11
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Ledger Art

      The MoCNA Store will commemorate its reopening with a new show and sale in the Lloyd Kiva New Gallery celebrating contemporary Native ledger art from Darryl Growing Thunder, John Isaiah Pepion and Sheridan MacKnight. Ledger Art originated with the Great Plains Indians during the mid-1800s when they were confined to reservations and didn't have access to their traditional forms of artistic expression. They painted and sketched scenes that were memories of ceremonies and a former lifestyle before their confinement. Recognized today as a major artform, contemporary indigeous artists conti... [more]
Posted by Abhilasha Singh on 1/10/11
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Nicholas Galanin

Alaskan artist Nicholas Galanin brings transformative work to the museum from his series, “The Imaginary Indian” in which manufactured Northwest Coast masks are juxtaposed with French toile. Galanin explores the authentic and inauthentic and how interpretation, appropriation and "cultural drift” inform Northwest Coast art. This exhibit will showcase the Curtis Legacy where Galanin strips masks, bodies and meaning down to reveal that, "The real strength in survival of indigenous knowledge and culture lies within the ability to freely and creatively represent ourselves." Shifting the colonial g... [more]
Posted by Abhilasha Singh on 8/1/10