Tribalpedia

T.C. Cannon: At the Edge of America

March 16, 2019–September 16, 2019

New York, NY

Epochs in Plains History- Mother Earth, Father Sun, the Children Themselves– by T.C. Cannon. Painting- Estate of T.C. Cannon

One of the most influential, innovative, and talented Native American artists of the 20th-century, T.C. Cannon embodied the activism, cultural transition and creative expression that defined America in the 1960s and 1970s.

T. C. Cannon (1946–1978, Caddo:Kiowa), Two Guns Arikara, 1974–77. Photo by Thosh Collins

Cannon’s work—as an artist, poet, and aspiring musician—is deeply personal yet undeniably political, reflecting his cultural heritage, experience as a Vietnam War veteran, and the turbulent social and political period during which he worked.

A Remembered Muse–By T.C. Cannon -Tosca-1978.

Cannon preferred bold color combinations, mash-ups between Native and non-Native elements and never shied away from the complexity and nuance of identity politics. Cannon interrogated American history and popular culture through his Native lens, and exercised a rigorous mastery of Western art historical tropes while creating an entirely fresh visual vocabulary.

T. C. Cannon (1946–1978, Caddo:Kiowa), Indian with Beaded Headdress, 1978.

Abbi of Bacabi (1978), among Cannon’s last and unfinished works-Harvard Magazine

 T.C. Cannon: At the Edge of America celebrates Cannon’s creative range and artistic legacy through numerous paintings and works on paper, as well as his poetry and music.

T.C. Cannon: At the Edge of America is organized by the Peabody Essex Museum, Salem, Massachusetts. The exhibition was made possible in part by an award from the National Endowment for the Arts. Ellen and Steve Hoffman provided generous support.

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Jeffrey Veregge: Of Gods and Heroes

Fall 2018–October 13, 2019

New York, NY

Jeffrey Veregge, Mysterious Planet, 2017. Courtesy of Jeffrey Veregge.

This exhibition will feature a new narrative creation by the Salish artist known for his bold blend of Northwest Coast formline and pop-culture figures. This site-specific work will include an epic battle between Marvel characters and aliens invading the streets of New York City.

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Circle of Dance

October 6, 2012–April 2019

New York, NY

Northern Traditional Dancer, Terry Fiddler (Cheyenne River Sioux), National Museum of the American Indian National Powwow, 2007. Photograph by K. Fogden

Circle of Dance presents Native dance as a vibrant, meaningful, and diverse form of cultural expression. Featuring ten social and ceremonial dances from throughout the Americas, the exhibition illuminates the significance of each dance and highlights the unique characteristics of its movements and music.

Music and dance have always been essential to the spiritual, cultural, and social lives of Native peoples. Unique forms of ritual, ceremonial, and social dancing remain a vital part of contemporary community life. Everywhere dance is found, it is accompanied by distinctive Native musical styles. Rich music and dance traditions create strong ties that bind American Indian communities to all living things, to the earth, spirit world, and—when people have deep ancestral claims to their dances—to the past.

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Taíno Perseverance in next [July28, 2018-October 2019]  NYC exhibit at National Museum of the American Indian

Taino Puerto Rican Indians in modern day.

“The Indigenous peoples of the Spanish-speaking Caribbean are not extinct and they never were. ‘Todavía estamos aquí (we are still here)’: this is the powerful message of the modern Taíno movement and the foundation of “Taíno: Native Heritage and Identity in the Caribbean,” a new exhibition presented by the Smithsonian’s National Museum of the American Indian and the Smithsonian Latino Center. It opens Saturday, July 28, at the museum’s George Gustav Heye Center in New York.”

“The term Taíno most directly refers to the diverse Arawak-speaking peoples of the Greater Antilles (Cuba, Jamaica, Haiti, the Dominican Republic and Puerto Rico) and their descendants.

Cubans reclaim their Taino Indian heritage. Smithsonian Magazine.

Though the Indigenous peoples’ numbers greatly dwindled upon contact with European colonizers, they survived disease, enslavement and brutality. Currently, a Native heritage movement involving Taíno descendants is growing throughout the Greater Antilles and in diasporic Caribbean communities in the United States, such as the region around New York City.

The Moxum family have mixed Native roots. Mr. Norman Moxum is of Arawak-descent, and his wife, Yolanda Moxum, comes from a Miskito community in Honduras. Photo Credit- John Homiak.

These diverse groups have established robust networks that continue the proud legacies of their Native ancestors, and “Taíno: Native Heritage and Identity in the Caribbean” provides a framework for understanding the growth of this movement in the Spanish-speaking Caribbean and the United States.”

The exhibition is presented in English and Spanish and will be open through October 2019.

“Taíno: Native Heritage and Identity in the Caribbean” begins with an overview of Taíno cultures before European contact, where visitors encounter emblematic objects associated with aspects of Native political and spiritual life that would drastically change after European colonization. One particularly important series of objects identified in the exhibition are cemís. Considered living objects by Taíno peoples, cemís are stone, wooden or cotton artifacts used in ceremony to connect with deities, ancestors and forces of nature. In all, 31 objects from the museum’s collection serve as focal points for the exhibition, 19 of which date back to pre-contact (ca. A.D. 800–1500). The exhibition demonstrates how archaeological objects from the ancestral past inform and inspire the present-day Taíno movement.”

For more information, including associated events, visit The Smithsonian’s National Museum of the American Indian