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

  • Daina Warren - Montana Cree

    Interview by Sharita Towne

    Winter 2012



    Daina Warren is a curator based in Winnipeg, Canada. She is currently Co- Director at Urban Shaman Gallery. One of the things that most struck me about Daina, and inspired me to reach out to her was the range of artists and shows she has put together, and her keen sense of description and introspection when delving into these works. Furthermore, she has accomplished all of this at a relatively young age! I figured there was a thing or two I could learn from Ms. Warren, and was honored she agreed to this interview.

     

    Sharita Towne: Thank you for taking the time to do an interview with us. I want to start off by getting to know a bit about where you’re from, your family, and community. Has anyone in your family been an inspiration in your pursuing art?

    Daina Warren: I am from the Montana Cree Nation located in Hobbema, Alberta. Many people in my family state that they are not artists per se (and I have the amazing situation of two families, my birth Native family and my adopted white family). But it’s because of them that I always felt their support and energy to take on a career in the arts. In my white family, my mother and father are really remarkable at designing and renovating houses; one of my brothers is a musician, and there are contemporary dancers and other musicians in the extended family. In my Native family, my birth mother and grandmother are both exceptional traditional beaders. They have made almost all of the regalia for the immediate family of my brothers, sisters, and cousins on the rez.

    ST: You studied Studio Arts, and now it seems much of your creativity is channeled into your curatorial practices. When did you first get into curating?

    DW: My first curatorial project was actually at Emily Carr University of Art & Design (back then it was known as Emily Carr Institute of Art & Design) while I was pursuing a Bachelor in Fine Arts degree for my own Visual Arts practice. I curated our student exhibition titled, Deconstructing the FirstNationsAboriginalNativeIndian in 2000. However, it was soon after I finished at ECUAD that I started working with grunt gallery, in that they hired me as a curatorial resident through Canada Council’s program, Grants to Aboriginal Curators for Residencies in the Visual Arts, and I worked with them from 2000 – 2001. I was then hired on permanently as curator and administrator. My curatorial experience developed because of the projects and people I met through grunt.

    Kevin McKenzie, 426 Hemi, from “Don’t Stop Me Now,” curated by Daina Warren

     

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    Tagged: Daina Warren Contemporary Native Curator

    Posted on March 12, 2012 with 11 notes

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