BGuthrie Photos: DC -- Natl Museum of the American Indian -- Exhibit: Vantage Point: The Contemporary Native Art Collection

DC -- Natl Museum of the American Indian -- Exhibit: Vantage Point: The Contemporary Native Art Collection:

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Description of Pictures: Vantage Point: The Contemporary Native Art Collection
September 25, 2010 – August 7, 2011
This exhibition highlights the museum's young but vital collection of contemporary art, with 31 significant works by 25 artists ranging from paintings, drawings, and photography to video projection and mixed-media installation. These complex and richly layered works speak to the concerns and experiences of Native people today and are organized around the following four themes: personal memory and identity, history and the contemporary urban experience, landscape and place, and cultural memory and persistence. The artists featured include James Lavadour (Walla Walla), Truman Lowe (Ho-Chunk), Alan Michelson (Mohawk), and Marie Watt (Seneca), Kent Monkman (Cree), and Emmi Whitehorse (Navajo).

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Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. AMINVP_101011_002.JPG: In the Garden (Corn, Beans, Squash), 2003. Marie Watt (Seneca), b. 1967. Reclaimed wool blankets, satin bindings, thread. Museum purchase, 2006 (26/5807). The title of this work comes from the Iroquois or Haudenosaunee story of the Three Sisters -- the food crops corn, beans, and squash -- and the strength and support they provide to one another when planted together. The intertwined strands climbing skyward also suggest the fall to earth of Sky Woman, and the interlocking diamond forms recall Native American star quilts. Watt is interested in the personal and collective memories blankets carry, and in the personalities they develop over time as they become worn with use, faded in color, and stretched out of shape. Marie Watt (Seneca, b. 1967) is a multidisciplinary artist who describes herself as "half cowboy and half Indian." She has degrees from Willamette University and the Institute of American Indian Arts and a MFA from Yale University. Watt uses a vocabulary of natural materials and forms that are universal to human experience and noncommercial in character. Formally, her work draws from Indigenous design principles, oral tradition, personal experience, and history. Watt's work has been widely exhibited and collected, and she has received honors including the Eiteljorg Fellowship for Native American Fine Art and awards from the Joan Mitchell Foundation and the Anonymous Was a Woman Foundation. She lives and works in Brooklyn.
2. AMINVP_101011_005.JPG: Once upon a Time…, 2004. Star Wallowing Bull (Minnesota White Earth Band of Chippewa), b. 1973. Prismacolor pencil and crayon on paper. Gift of the artist, 2006 (26/5636). Wallowing Bull's intricate colored-pencil drawings bring together elements of personal biography, pop culture, and Native history and visual culture. The title of the work and the image of the artist as a young boy recall the story of Pinocchio, a fairy tale with which Wallowing Bull has closely identified during troubled periods in his life. The drawing was a gift to the museum in appreciation for its Native Artists Program: Wallowing Bull participated in the program in 2001, and he credits it for helping turn his life around. Star Wallowing Bull (Minnesota White Earth Band of Chippewa, b. 1973) was born in Minneapolis. He was awarded the Smithsonian National Museum of the American Indian Native Artist Fellowship in 2001 and in 2002 was given the Juror Award by the Plains Art Museum. Wallowing Bull's artwork has been shown at C. N. Gorman Museum at the University of California, Davis; Texas Woman's University; Plains Art Museum; Minneapolis American Indian Center; Weisman Art Museum; and Bockley Gallery. His work has been acquired by artists James Rosenquist and Jaune Quick-to-See Smith, the Tweed Museum of Art, and the British Museum of Art.
3. AMINVP_101011_012.JPG: Yaqui Flashback II, 1991. Mario Martinez (Pascua Yaqui), b. 1953. Acrylic and mixed media on canvas. Gift of Bill Rosenfeld and Suzanne M. Rubel, 2005 (26/5365). Painting in an abstract style appeals to Martinez in part because it allows him to express Yaqui cultural traditions, knowledge, and spirituality without explicitly revealing them. Here, he incorporates decorative fabrics used in Yaqui ceremonial regalia. While he frequently depicts what he considers "essential" forms found in nature, more recent works such as Brooklyn (2004), found in the Landscape and Place section of this exhibition, also refer to the urban landscape of his current home. After an early art career in San Francisco, Mario Martinez (Pascua Yaqui, b. 1953) moved to New York City. He holds a bachelor's degree from the School of Art, Arizona State University in Tempe, and a MFA from the San Francisco Art Institute. Martinez's work was featured in New Tribe: New York, a series of solo exhibitions at the GGHC. Group exhibitions include Who Stole the Tee Pee?, also GGHC; AlieNation, American Indian Community House Gallery; and the Contemporary Artists Federation Group Show, Japan. In 2002 he received a Native Artist in Residence Fellowship from the National Museum of the American Indian.
4. AMINVP_101011_024.JPG: Weh-Pom and the Star Sisters, 2004. Judith Lowry (Hammawi Band Pit River/Mountain Maidu/Washo/Scottish-Irish/Australian), b. 1948. Acrylic on canvas. Museum purchase, 2009 (26/7500–26/7505). In a pictorial style evoking the early Italian Renaissance paintings she admired as a child living in Europe, Lowry depicts family stories and oral traditions of Native California. Here, she portrays Weh-Pom (Coyote), who traveled to the heavens in pursuit of the five Star Sisters only to find that they preferred dancing to his advances. The Star Sisters are shown in traditional regalia of tule skirts, shell necklaces, basketry hats, and flicker headbands, and hold baskets filled with stars. The paintings of Judith Lowry (Hammawi Band Pit River/Mountain Maidu/Washo/Scottish-Irish/Australian, b. 1948) are typically large-scale narratives that spring from family stories, California Native oral traditions, and pop culture, and through them she addresses issues of cross-cultural exchange, stereotypes of all kinds, women's roles in history, and the politics of religion. Although she was interested in art as a child, Lowry did not attend college or became a working artist until she reached her 30s, after raising her family. Today she is among the most recognized Native artists, and is included in numerous exhibitions and collections. She lives in Nevada City, California.
5. AMINVP_101011_050.JPG: Wah-Du-Sheh (Bundle), 1997. Truman Lowe (Ho-Chunk), b. 1944. Wood, paper, and leather. Museum purchase, 2009 (26/7724). Born in Black River Falls, Wisconsin, Truman Lowe (Ho-Chunk, b. 1944) earned a degree in art education from the University of Wisconsin–La Crosse and an MFA from the University of Wisconsin–Madison. Lowe, a Professor Emeritus at the University of Wisconsin–Madison, has also served as curator of contemporary art at NMAI. Lowe's work has been shown at venues including the White House's Twentieth Century American Sculpture exhibition, Minneapolis Museum of Art, Denver Art Museum, and the Eiteljorg Museum. He is the subject of the book Woodland Reflections: The Art of Truman Lowe, written by Jo Ortel (2004).
6. AMINVP_101011_056.JPG: Medicine Wheel–Nebula (Dream)–Glass-Bottom Boat, 2000–06. Joane Cardinal-Schubert (Blackfoot [Blood]), 1942–2009. Acrylic on canvas. Gift of the Province of Alberta and the Honorable Ralph Klein, Premier of Alberta, 2006 (26/5680). Here, Cardinal-Schubert portrays Hazlet Lake, where she lived as a child; its surface is dotted with water lilies, reflected stars, and one of the many medicine wheels found in southern Alberta. The artist wrote that she had learned a great deal about the "natural order of things" through time spent exploring the lake and observing its abundant animal and plant life. Joane Cardinal-Schubert (1942–2009), of Blackfoot (Blood) ancestry, was a multimedia artist, writer, curator, and director of video and aboriginal theatre. She was born in Red Deer, Alberta, and received a BFA from the University of Calgary. Her work has been shown, collected, and published nationally and internationally. Over her 40-year career, Cardinal-Schubert's work ranged from richly colored drawings and paintings to installation works inspired by memories, Native history, social injustice, and environmental concerns. She received numerous awards and honors, including induction into the Royal Canadian Academy, the Commemorative Medal of Canada, an Honorary Doctor of Laws degree from the University of Calgary, and a National Aboriginal Achievement Award.
7. AMINVP_101011_060.JPG: Sky Rise Dreams, 2001. Margarete Bagshaw (Santa Clara Pueblo), b. 1964. Oil on linen. Gift of R. E. Mansfield, 2005 (26/4466). While visiting New York City, Bagshaw felt both inspired by the iconic monumental architecture surrounding her and somewhat disoriented by the absence of the geographic markers of the Southwest. The artist, who hails from a strong lineage of distinguished women painters, draws on both Puebloan and Cubist abstraction in her work. Margarete Bagshaw (Santa Clara Pueblo, b. 1964) -- daughter of Helen Hardin and granddaughter of Pablita Velarde, both famed Pueblo painters -- is a modernist painter whose work is full of complex patterns and subtle shading. Bagshaw also creates three-dimensional works in clay. Bagshaw lives in Santa Fe, where she owns a gallery. Her artwork has been featured in exhibitions at the Eiteljorg Museum of American Indians and Western Art, Indianapolis; the Wheelwright Museum, Santa Fe; and the Albuquerque Museum of Art and History, among other institutions.
8. AMINVP_101011_070.JPG: Stories upon Stories, 2005. Nora Naranjo-Morse (Santa Clara Pueblo), b. 1953. Cast aluminum, ed. 1/4. Museum purchase with funds donated by David and Sara Lieberman, Larry Goldstone, and the Masterpool Foundation Trust, 2007 (26/5837). Naranjo-Morse comes from an extensive family of potters and visual artists. Her work emphasizes pueblo peoples' intimate connection to the land and to the clay used in creating hand-built vessels and traditional homes. In this piece she draws inspiration from pueblo pottery forms and designs, in particular the carved vessels made by her father and generations of Santa Clara potters. The work's title refers to the many centuries of stories and histories embodied in the pottery shards still found frequently on the grounds of the pueblo. A member of a large family of celebrated artists, Nora Naranjo-Morse (Santa Clara Pueblo, b. 1953) is a sculptor, writer, and producer of films that examine social change within Pueblo culture and comment on the lives of contemporary Native women. She is best known for her work in clay, a medium that holds special significance in Santa Clara Pueblo art. Her installation Always Becoming is on view outside the Mall museum's south entrance. She has received an Eiteljorg Fellowship, and her work has been included in exhibitions at the Canadian Museum of Civilization, Heard Museum, Wheelwright Museum, and the White House.
9. AMINVP_101011_075.JPG: User comment: "Brooklyn", 2004, by Mario Martinez (Yoeme [Yaqui])
10. AMINVP_101011_080.JPG: Roadkill Warrior: Last of His Tribe, 2001. Judith Lowry (Hammawi Band Pit River/Mountain Maidu/Washo/Scottish-Irish/Australian), b. 1948. Acrylic on canvas. Gift of the artist, 2009 (26/7506). The man's pose recalls a famous historical photograph of Ishi, popularly known as the last Yahi or the "last wild Indian." The sole surviving member of his Northern California tribe, he spent the final five years of his life in a museum, where he was studied until his death in 1916 of tuberculosis. Lowry has written that to California Indians, Ishi "represents both the shattering and the survival of our tribal heritages." The painting is titled after the 1964 historical novel Ishi: Last of His Tribe. The paintings of Judith Lowry (Hammawi Band Pit River/Mountain Maidu/Washo/Scottish-Irish/Australian, b. 1948) are typically large-scale narratives that spring from family stories, California Native oral traditions, and pop culture, and through them she addresses issues of cross-cultural exchange, stereotypes of all kinds, women's roles in history, and the politics of religion. Although she was interested in art as a child, Lowry did not attend college or became a working artist until she reached her 30s, after raising her family. Today she is among the most recognized Native artists, and is included in numerous exhibitions and collections. She lives in Nevada City, California.
11. AMINVP_101011_086.JPG: Chapel for Pablo Tac, 2005. James Luna (Puyukitchum [Luise�o]), b. 1950. Mixed media. Audio composition courtesy of Jorge Ar�valo Mateus. Video composition by Eto Otitgbe. Museum purchase, 2010 (26/7735). Created for the 2005 Venice Biennale, this work honors Pablo Tac (Luise�o, 1822–41). At the age of 12, Tac traveled to Rome to study for the Catholic priesthood. He never returned home, but before his death seven years later, he penned a handbook of Luise�o grammar, began a dictionary of the language, and wrote an account of the "missionization" of his people. Luna re-creates an 18th-century California mission church and draws parallels between elements of Catholicism and the Native religions the missions intended to destroy. Celebrated for his installation and performance work, James Luna (Puyukitchum [Luise�o], b. 1950) creates art that confronts and challenges stereotypes about Native Americans, museums, art, and life through the use of irony, humor, grief, and a strong sense of storytelling. Luna was selected by NMAI to exhibit at the 2005 Venice Biennale. He has created and been the subject of critically acclaimed films. He has exhibited and performed at the Whitney Museum of American Art; the American Indian Community House, New York; National Gallery of Canada, Ottawa; and the San Diego Museum of Man, among other venues.
12. AMINVP_101011_092.JPG: Peacemaker, 2004. Douglas Miles (San Carlos Apache/Akimel O'odham), b. 1963. Acrylic on wood (skateboard deck). Museum purchase, 2007 (26/5954). The imagery Miles paints on his skateboard decks -- the first of which he created for his son -- often raises troubling questions about the challenges and sometimes limited options faced by youth on the San Carlos Apache reservation. Skateboarding has become a highly popular sport there and in Native communities across North America, providing an alternative to gangs and drugs and encouraging athleticism, creativity, and discipline. Douglas Miles (San Carlos Apache/Akimel O'odham, b. 1963) connects mainstream skateboard culture and contemporary Native life by depicting Apache warriors and the youth of the San Carlos Apache reservation on skateboard decks. First made for his son's use, Miles' Apache skateboards assert a Native presence in the skating community and have been exhibited widely in galleries and museums, including the Eiteljorg Museum of American Indians and Western Art, Indianapolis; the Institute of American Indian Arts, Santa Fe; the Peabody Essex Museum, Salem, Massachusetts; and the Santa Cruz Museum of Art and History.
13. AMINVP_101011_101.JPG: The Emergence of a Legend, 2007. Kent Monkman (Cree), b. 1965. Five digital prints on metallic paper. Museum purchase, 2008 (26/7168–26/7172). Through his alter-ego, Miss Chief, Monkman investigates the history of Indians performing for non-Indians, and in the process subverts official history. Monkman has created similarly provocative work in other genres, including large-scale landscape paintings and films. Here Miss Chief appears in various guises, including as a performer in Wild West and vaudeville shows and an actress in silent films, before stepping behind the camera as a Hollywood director. Kent Monkman (Cree, b. 1965) works in media including painting, film and video, performance, and installation. He has been shown in solo exhibitions at the Montreal Museum of Fine Art and the Museum of Contemporary Canadian Art in Toronto, and his short film and video works have been screened at the 2007 and 2008 Berlinale and the 2007 Toronto International Film Festival. Monkman's work is represented in public and private collections, including the National Gallery of Canada, Montreal Museum of Fine Arts, Glenbow Museum, Museum of Contemporary Canadian Art, Mackenzie Art Gallery, and the Art Gallery of Ontario.
14. AMINVP_101011_128.JPG: La Pieta, 2001–06. Shelley Niro (Bay of Quinte Mohawk), b. 1954. Digitized photo ink jet prints on canvas. Museum purchase, 2009 (26/7463). This complex and layered work addresses the human and environmental tolls of armed conflict. Images referring to the displacement of the Iroquois people from the Mohawk Valley, the ongoing Grand River land dispute in Caledonia, Ontario, and the cleansing and regenerative power of water are bordered by a wampum belt symbolizing the upward journey of the spirit to the sky world after death. The red fabric represents bloodshed and poppies -- emblems of war, remembrance, and renewal. Shelley Niro (Bay of Quinte Mohawk, b. 1954) grew up on the Six Nations Reserve and is a graduate of the Ontario College of Art, where she received a degree in painting and sculpture, and the University of Western Ontario, where she earned an MFA. Niro's art ranges from photography and film to painting and beadwork. She has been exhibited and collected widely and received numerous awards. Her work often incorporates humor and parody to address stereotypes and larger questions of identity, and to analyze how identity is constructed by individuals and society.
15. AMINVP_101011_131.JPG: Indian Act, 2000–03. Nadia Myre (Algonquin), b. 1974. Glass beads, Stroud cloth, acid-free paper, and masking tape (pages 7, 20, 26, 27, and 28 of a 56-page work). Museum purchase, 2010 (26/7723). After Myre printed a copy of Canada's Indian Act, the law governing the lives of First Nations peoples, she enlisted over 200 friends and strangers to assist her in beading over the 56 pages in rows of red and white, obscuring and neutralizing the text of this controversial and widely debated law. Nadia Myre (Algonquin, b. 1974) is a multidisciplinary artist whose work explores themes of desire, identity, and language. Her work has been shown at the Heard Museum, Royal Ontario Museum, and the Canadian Museum of Civilization, and has been collected by the Eiteljorg Museum of American Indians and Western Art, Mus�e National des Beaux-Arts du Qu�bec, the National Gallery of Canada, and other institutions. Myre founded the Scar Project, an ongoing "open lab" where viewers participate by sewing their scars -- whether real or symbolic -- onto stretched canvases and writing their stories on paper. Since the project began in 2004, she has collected hundreds of canvases and stories.
16. AMINVP_101011_136.JPG: Chief Joseph series, 1974–77. Kay WalkingStick (Cherokee), b. 1935. Acrylic, wax, and ink on canvas (27 panels of a 36-panel series). Museum purchase, 2005 (26/5366). These paintings serve as an elegy for the late 19th-century Nez Perce chief, who resisted the removal of his band from Oregon's Wallowa Valley to a distant reservation. WalkingStick worked out all possible configurations of two small and two large arcs, then incised the archetypal forms into a thickly applied surface of acrylic paint and wax, revealing the color-stained canvas below in a kind of ritual act of mourning for the loss of home, land, and lives. Kay WalkingStick (Cherokee, b. 1935) holds a BFA from Beaver College in Glenside, Pennsylvania, and a MFA from the Pratt Institute. While she works primarily in oils, she is well known for her mixed-media landscape diptychs. Her work has been collected by the Metropolitan Museum of Art, National Museum of Canada, Heard Museum, Southern Plains Indian Museum, Israel Museum, San Diego Museum of Art, Eiteljorg Museum of American Indians and Western Art, Gilcrease Museum, and the Cherokee Heritage Center, among other institutions. WalkingStick served as a professor of art at Cornell University from 1988 to 2005. She currently lives in New York.
17. AMINVP_101011_140.JPG: Mespat, 2001. Alan Michelson (Mohawk), b. 1953. Digital video with sound, turkey feathers, monofilament, and steel cable. Sound: Michael J. Schumacher. Museum purchase, 2006 (26/5774). Mespat takes its name from a Lenape word meaning "bad water place." The work is a meditation on the Native people, displaced by European colonists in 1642, who once lived near the now heavily polluted Newtown Creek, an urban estuary running between Brooklyn and Queens and the site of a major oil spill in the 1950s. In this video work -- his first -- Michelson pans the three-and-a-half-mile shoreline of the creek, drawing inspiration from the landscape paintings of the Hudson River School and a pre-cinematic entertainment known as painted moving panoramas, both popular in the mid 19th century. Alan Michelson (Mohawk, b. 1953) addresses North American geography, history, and identity in his mixed media installations. He has exhibited nationally and internationally, at venues including the New Museum, National Gallery of Canada, and the Whitney Museum of American Art. Michelson's Third Bank of the River, commissioned for the new U.S. Land Port of Entry in Massena, New York, was recognized as one of the year's best public artworks by the Americans for the Arts 2010 Public Art Year in Review. Michelson is the 2011 Invited Artist/Fellow of the Eiteljorg Fellowship for Native American Fine Art. He lives in New York City and teaches at the Rhode Island School of Design.
18. AMINVP_101011_151.JPG: Blanket, 2005. James Lavadour (Walla Walla), b. 1951. Oil on board. Museum purchase with funds donated by Robert Jon Grover, 2007 (26/6079). The images comprising Lavadour's Blanket represent not the physical appearance of the Umatilla reservation, which he has walked daily for years, but the natural forces -- geological and meteorological -- that shaped the land. Lavadour draws parallels between these processes and his work as an artist as he pushes and scrapes pigments across the panel. James Lavadour (Walla Walla, b. 1951), long inspired by the landscape of eastern Oregon, cites the influence of Chinese painting, Abstract Expressionism, and the music of John Coltrane on recent paintings. His work has been collected by the Heard Museum, Indian Arts and Crafts Board, Qwest Corporation, Seattle Arts Commission, and the Washington State Arts Commission, as well as exhibited internationally. In 1992, Lavadour and friends incorporated the Crow's Shadow Institute of the Arts, a printmaking studio, gallery, and venue for traditional arts of the Plateau.
19. AMINVP_101011_157.JPG: A Rose in Tribute, 2001. Carlos Jacanamijoy (Inga), b. 1964. Oil on canvas. Gift of the artist, 2003 (26/1565). In his lush abstract paintings, Jacanamijoy evokes the vibrant colors and dense foliage of Colombia's Putumayo rainforest, which dominates the area near the village where he was raised. The entwined floral and plant forms suggest also the movement of the regalia -- woven and embroidered textiles, brightly colored feathers and flower petals, and strands of glass beads -- worn by dancers during the annual At�n Puncha celebration. Carlos Jacanamijoy (Inga, b. 1964) was born in Colombia in the Sibundoy Valley near the Putumayo rainforest. His artwork has been exhibited in numerous solo and group shows. Jacanamijoy studied at the Universidad de La Sabana in Bogot� and the Nari�o University and received a masters degree from the National University of Colombia in Bogot�. His vivid and atmospheric landscapes abstract color and light. Although a nonobjective approach dominates his oeuvre, Jacanamijoy has also painted figurative work. He lives in Bogot�.
20. AMINVP_101011_161.JPG: Tire, 2003. Joe Feddersen (Colville Confederated Tribes [Okanagan/Lakes]), b. 1953. Sandblasted blown glass. Museum purchase, 2003 (26/2874). Feddersen's elegant glass baskets place images of contemporary human marks on the land over raised Plateau basketry designs, themselves representing mountains, streams, animal tracks, and other landscape elements. This layering of imagery links these works closely to the monoprints for which Feddersen is best known, although the subtractive sandblasting technique used here is in effect a reversal of the additive printmaking process. Joe Feddersen (Colville Confederated Tribes [Okanagan/Lakes], b. 1953) retired with Emeritus status in 2009 from The Evergreen State College -- which honored him with its first distinguished faculty award -- and returned home to the Colville Reservation. Recognized for both his monoprints and his glass baskets, Feddersen has participated in numerous group and solo exhibitions. He received a BFA from the University of Washington and an MFA from the University of Wisconsin. His work has been collected by corporate and public institutions including the Whitney Museum of American Art. He is the subject of Joe Feddersen: Vital Signs, published by the University of Washington as part of its Jacob Lawrence Series on American Artists.
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- 2004_DC_AmerInd_Contemporary: DC -- Natl Museum of the American Indian -- Exhibit: Our Lives: Contemporary Life and Identities (4 photos from 2004)
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2010 photos: Equipment this year: I mostly used the Fuji S100fs until the third one broke and I started sending them back for repairs. Then I used either the Fuji S200EHX or the Nikon D90 until I got the S100fs ones repaired. At the end of the year I bought a Nikon D5000 but I returned it pretty quickly. Trips this year: Civil War Trust conferences (Lexington, KY and Nashville, TN), and my 5th consecutive San Diego Comic-Con trip (including Los Angeles). My office at the main Commerce Department building closed in October and I was shifted out to the Bureau of the Census in Suitland Maryland. It's good to have a job of course but that killed being able to see basically any cultural events during the day. There's basically nothing of interest that you can see around the Census building. Number of photos taken this year: about 395,000..
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Photo Contact: [Email Bruce Guthrie].