Tribalpedia

Celebrate Gay Pride Month June  2021!

Navajo Nation celebrates its first official Pride parade after a devastating year, By Cecilia Nowell, Washington Post, June 21, 2021

Drag performer Anya C. Mann in a pride ribbon skirt at the first Navajo Nation Pride Parade at Window Rock, Arizona on June 19, 2021. (Cecilia Nowell for The Washington Post)

 

10 Queer Indigenous Artists on Where Their Inspirations Have Led Them — Interviews by Samuel Rutter and Caitlin Youngquist, The New York Times, April 23, 2021

Lukas Avendaño’s Lukas y José (2017). Credit: Courtesy of the artist. Photo: Mario Patiño

“Though the pandemic’s grip is starting to loosen, and relief finally feels within reach, this past year has underscored our country’s long history of violence, new examples of which serve as reminders of older ones. Among them are the myriad atrocities perpetuated against Indigenous people in what we now call America (and beyond), individuals whose experiences are to this day too often distorted or left untold.

Lately, though, there have been some hard-won gains on that front, from professional sports teams finally changing their names to the Metropolitan Museum of Art hiring Patricia Marroquin Norby as its first curator of Native American Art…Like the selections themselves, the conversations, which touched on materials, color schemes, gender fluidity, decolonization, oral history and more, were testaments to the strength — and beauty — of a multiplicity of voices.”

A photo of Eric-Paul Riege’s performance dah ‘iistł’ǫ́ [loomz], weaving dance (fig.1) (2018). Credit: Courtesy of the artist. Photo: Rapheal Begay

Aku Matu in the regalia she made in collaboration with the artist Christy Chow for the music video of Matu’s rap song Ancestor From the Future (2017). Credit: Courtesy of the artist. Co-created by Allison Akootchook Warden and Christy Chow. Photo: Christy Chow

Kent Monkman’s The Deluge (2019). Credit: Courtesy of the artist 

The National Museum of the American Indian in Washington, DC, is open!

The Museum in New York, NY, opens June 23, 2021. Visit: https://americanindian.si.edu

Continue to Enjoy the Museum from Home: 

Online Programs

May 1–31, 2021

The Story of the Lūʻau

May 29–31, 2021

At the Movies: Navajo Code Talkers

June 17, 2021

Youth in Action: Indigenizing Pride

Featured Online:

A Song for the Horse Nation

Paintings:
drawings:
prints

Culture Area

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