Tribalpedia

Winnipeg’s New Showcase and Meeting Place for Inuit Art and Artists

Opening March 27, 2021

Qaumajuq, the new Inuit art center at the Winnipeg Art Gallery Credit-Lindsay Reid, Winnipeg Art Gallery

“A new museum for the Winnipeg Art Gallery’s leading collection of Inuit art opens on Saturday in a project shaped by Inuit. Winnipeg sits far from the territory of the Inuit. But the Winnipeg Art Gallery has long been the leading collector of their art.” By Ian Austen, New York Times, March 26, 2021

“Waiting for the Shaman” a 2017 work by Maureen Gruben made with bones from polar bear paws and resin.Credit…Kyra Kordowski, Winnipeg Art Gallery-NYT

After decades of discussion, the gallery will open on Saturday in a new museum, Qaumajuq, a project estimated to cost 55 million Canadian dollars, to showcase the art that Winnipeg has collected for about 70 years and to provide a place for Inuit artists to gather and work.While there are small galleries, work spaces, cultural centers and art co-ops scattered through the territories of the Inuit showing their work, Winnipeg’s center is the first large institution in the world that is dedicated to this art…Like most art galleries, Winnipeg has stored the overwhelming majority of its 14,000 Inuit works in storage, viewed only by curators and visiting scholars. The Qaumajuq center has brought the vault up into a three story high space, encased in glass and lined with artworks on shelves for all to see.”

Meet some of the creators behind INUA, the new Inuit Art Centre’s inaugural exhibit, opening March 27 —

By Jonathan Ventura, Bryce Hoye, CBC News, March 21, 2021

Jesse Tungilik and others helped create this sealskin spacesuit, which is one of thousands of contemporary Inuit art pieces on display at Qaumajuq, the Winnipeg Art Gallery’s new centre for Inuit art. (Jonathan Ventura/CBC)

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Smithsonian: The National Museum of the American Indian 2021

NOTICE:  As a public health precaution, the museums in Washington, DC, and New York, NY, are temporarily closed.

Enjoy The Museum From Home!

Featured Online:

Online Resources  [Exhibition Websites]

A Song for the Horse Nation

Paintings:
drawings:
prints

Culture Area

Online Programs:

On demand from February 20–28, 2021

Art of Storytelling: Featuring Gene Tagaban (Tlingit)

On demand from February 27–28, 2021

Art of Storytelling: Featuring Kevin Noble Maillard (Mekusukey Band of the Seminole Nation)

March 18, 2021

Youth in Action: Native Women Making Change

ALL ONLINE PROGRAMS

Explore Online Education:

K–12 Distance Learning

LEARN MORE

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Maxine Noel

Maxine Noel (born 1946) is a Canadian First Nations artist from the Santee and Oglala heritage. She was given the Sioux name Ioyan Mani (“walk beyond”).

Not Forgotten By Maxine Noel

Summer Wind, By Maxine Noel

She was born on the Birdtail Reserve in southwestern Manitoba. A self-taught artist, she first worked as a legal secretary in Edmonton and Toronto before becoming a full-time artist in 1979. Her work has been exhibited in museums and galleries across Canada. She works with serigraphy, lithography, etching, painting and cast paper.

Her work is included in the collections of the Canadian Museum of History, the University of Western Ontario, the Canadian Native Arts Foundation in Toronto and the Whetung Ojibwa Centre. Read more about this wonderful Native artist wikipedia

Trinity, By Maxine Noel

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Roger Sosakete Perkins

Powwow  Pop Art’ and Perseverance

Roger Sosakete Perkins, left, and his cousin Jack Martin sit in front of Sosakete Perkins’ Faith Keeper. (Photo courtesy of Sosakete Perkins)

By Nanette Deetz, ICT

“Roger Sosakete Perkins, Mohawk, opens about his unique style, plus struggles he and other artists are facing during the pandemic.

Out of the hundreds of paintings Roger Sosakete Perkins has created, “Faith Keeper” is among his favorites. In the Mohawk tradition, the faith keeper’s job is to ensure the tribe’s young people learn its songs, dances and culture, and to find and encourage their hidden gifts…The pandemic has been hard for artists, especially those like Sosakete Perkins in the highly competitive and expensive San Francisco Bay Area.

-Bear Greeting- digital collage printed on canvas (Courtesy of R. Sosakete Perkins)

The artist best-known for his vivid “Powwow Pop Art” style — in which he “reclaims” old images of Native Americans that were once used in advertising — has kept working, creating new pieces that reflect his concern. But it hasn’t been easy.

Contemporary Sitting Bull digital collage painting printed on canvas. (Courtesy of Roger Sosakete Perkins)

He recently hung 20 paintings for an exhibit at a downtown Oakland, California, property management company.

‘It is a beautiful space, but no one will show up,’ he said…’So many of our families are now suffering terribly from unemployment, lack of food for elders, lack of computers for kids in school who need them in order to study from home,’ he said. ‘This area is one of the most expensive areas in the U.S. in which to live, so many of us are in survival mode. We need our community centers, health centers, and powwows to help us all survive and thrive.’

-Indn Star Wars- digital collage printed on canvas (Courtesy of R. Sosakete Perkins)

Sosakete Perkins graduated from the American Indian Institute of Arts, and relocated to Northern California in 2006. 

In 2013, he graduated from Berkeley City College after studying digital arts with an instructor who challenged students to literally create their own art movements.

That’s where he achieved his unique Powwow Pop Art style, which incorporates painting with vintage photos.

‘I use lots of imagery from companies and corporations who have used Native American images in order to sell their products,’ he said. ‘Basically, I am reclaiming our images that they expropriated without our permission, and reframing them in my own way.’

Sosakete Perkins’ artwork can be viewed on his Facebook page

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National Museum of the American Indian

November 16, 2019–Fall 2021

New York, NY

“Since 1940, many Native artists have pushed, pressed, and expanded beyond narrow, market-driven definitions of American Indian art. Drawing from the National Museum of the American Indian’s rich permanent collection, Stretching the Canvas presents nearly 40 paintings that transcend, represent, or subvert conventional ideas of authenticity.”

Tony Abeyta (navajo, b. 1965) Three Chanters, oil and mixed media on canvas

Jeffrey Gibson- In Such Times.

Acee Blue Eagle, Shield Dancer.

Artist- Judith Lowery

Dick West (1912–1996, Southern Cheyenne), Spatial Whorl, 1949–1950. Oil on canvas. Gift of Dwight D. Saunders, 2004. (26:5102)

G Peter Jemison Artist

Some Featured Artists:

Tony Abeyta (Navajo, b. 1965)

Rick Bartow (Mad River Wiyot, 1946–2016)

Acee Blue Eagle (Muscogee [Creek]/Pawnee, 1909–1959)

Julie Buffalohead (Ponca, b. 1972)

Woody Crumbo (Potawatomi, 1912–1989)

Jeffrey Gibson (Mississippi Choctaw/Cherokee, b. 1972)*

Joe Hilario Herrera (Cochiti Pueblo, 1920–2001)

G. Peter Jemison (Seneca, b. 1945)*

Fred Kabotie (Hopi Pueblo, 1900–1986)

Dick West (Southern Cheyenne, 1912–1996)

*Works by these artists will be featured in later phases of the exhibition.

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T.C. Cannon: At the Edge of America

April 6, 2019–September 16, 2019

New York, NY

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…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.

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

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

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

Jeffrey Veregge: Of Gods and Heroes

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 form line 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.

Taíno Perseverance  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.

“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 

“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