Contemporary North American Indigenous Artists

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Contemporary North American Indigenous Artists

Welcome to the Contemporary North American Indigenous Artist Blog.

I suggested to William LePore, the Chair of the Department of Art at Portland State University, that I would like to teach classes focusing on topics about Contemporary Native art. To my delight he took me seriously and gave me the amazing opportunity to teach a class called “Contemporary Native American Art” during the winter term of 2010.

I was very nervous about teaching the course. My nervousness came from wanting to give adequate represent to my fellow Contemporary Native Artists and their work, while also trying to convey some issues related to Indigenous struggles both in the past and currently. Even if the Native artists’ works that we examined had nothing to do specifically with indigenous subjects, it seemed like the course could not function without an overview of Native and First Nation’s history.

While preparing for the course I considered several approaches to take, none of which really satisfied my desire to learn about these artists in very direct ways. So, I decided to employ the Internet to allow me to build my course around student engagement with Native Artists in person.

The first day of class I presented my idea to my fourteen students. I asked them if they would be interested in helping me build a blog that would archive student conducted, e-mail based interviews with Contemporary Native Artists. The general response was excitement with a bit of nervousness. I compiled a list of over fifty Native Artists and gave short presentations on each artist showing a few of their major works. Each student than picked an artist from the list to contact for the project.

The students had over six weeks to research the artist’s work, formulate questions for the interview, respond with a second round of questions, select images, and upload the final interview to the blog. All interviews except for one were conducted through e-mail. At the end of the student’s interviews I requested that they each ask their artists two of my own questions:

• Do you think of yourself as a “Contemporary North American Indigenous Artists?” Do you think terms like that one are useful or not? Do you feel like there is a separation between contemporary indigenous artists and the rest of the art world as represented by mainstream art magazines, biennials, art fairs, etc.?

• Can you recommend another artist that we should interview for this blog in the future?

When making the blog I wanted to make sure not to exclude First Nations Artists. The course title was Contemporary Native American Art but many of the artists we researched are from Canada. So the blog title is an attempt to be as inclusive as possible: Contemporary North American Indigenous Artists, with the idea being to focus on contemporary art made by North American Indigenous artists regardless of subject matter.

It was an amazing ten-week process. The class met every Tuesday from 1-4:50pm. The students gave updates to the class about their interactions with their artists. Students would read their responses to the class and that would inspire conversations which might not ever have happened had the class been structured in a more traditional lecture format.

Throughout the process the students and I felt a range of emotions from excitement to suspense. One of the artists had a baby during the course of the interview and another artist was traveling throughout Asia. Knowing about these life events made the students feel more connected to their artists. On the final day each student gave an in depth presentation on each of their artist’s work and talked about some of the highlights during the interview process. I think the students were surprised to find that they can gain access to people they are interested in researching more easily than they thought. For the most part the experience was very positive and the students are proud to be providing the public with more information on contemporary Native Art.

I have gained great inspiration from this process and a feeling of community with the artists included in the project. I would like to thank all of my students for making this blog possible and all of the amazing, talented, and generous artists who participated with my students.

Wendy Red Star
Adjunct Professor
Department of Art
Portland State University

  • Da-ka-xeen Mehner - Tlingit/N’ishga

    Interview by Catherine Cooper

    Winter 2011

    Catherine Cooper: Your artwork sends very powerful messages. Examples I think of are Blood Work with the cutting of your multicolored beard and the photo 7/16th with your Native American identification information superimposed on a photo of your face. Also, the photos of you in the hanging cage in your early photography work engaged my mind with images of a pseudo type of freedom. The hidden figure wrapped in barbed wire from Surviving also sticks in my mind. What ideas are you driven to communicate through your artwork?

    11 Years of Beards


    11 Years of Beards


    Da-ka-xeen Mehner: The ideas I try to convey change over time, but at the heart of the work I feel like I do what most artists are doing, defining myself in the time and space that I live. The Surviving and early works were a way for me to process my childhood. Growing up with all the trappings of the urban Indian experience, poverty, alcoholism both with my family and my own wrestlings with alcohol, abuse and the shame and hiding of all these things that came out in the early work. With the blood work and the 7/16 I want to communicate to the world that we as Native people have this system of identification placed upon us. It is a system that creates a schism in the collective minds of Native people. It is a system that I find many people do not know about, every time I show the piece there are at least a few people I have to explain the CIB card to.

     

    7-16th

     

     

    CC:  I am currently studying photography. This term my project involves self-portraits and is titled Plural Identity. This feels like a highly self-revealing project. Blood Work and some of your early photography work involve a lot of self-portraiture. The staged photos from Reinterpretation Gallery 2 also involve self-portraits. What leads you to use self-portraiture as a form of expression?

    DM: I find self-portraiture to be a great way to examine the self in relation to the world. I feel free to comment on large issues but centered from a personal perspective. I was once asked if I thought of myself as a political artist, and I never felt comfortable speaking for anyone else, but myself. I can make work about the “blood-quantum” system or the construct of historical photographs, which affects all Native Americans, but from my own personal vantage point.

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    Tagged: Da-ka-xeen Mehner Contemporary North American Indigenous Artist Catherine Cooper

    Posted on February 12, 2012 with 47 notes

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