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Dylan AT Miner - Métis
Interviewed by Prudence Hayes
Winter 2012
Social justice activist with anarcho-punk twist, artist and professor, Dylan Miner knows what he’s doing when it comes to making art with a message. All aspects of his work, from conceptual design to carefully selected sustainable printing materials, reinforce his anti-colonial and anti-capitalist messages. Miners’ artistic mediums range from sculptural to his iconic relief prints and zine style work, all with stylized radical Métis and Latino influence. With multiple solo exhibits, involvement in artist collectives, alternative galleries and bookstores, and over 40 published literary works, Miners’ connection to the messages behind his art is apparent, as it expands far beyond the individual art pieces, and into the community itself.
Prudence Hayes: You have a relatively diverse family history, and your art strongly conveys stylized Chicano/Latino influence. Did your childhood’s rural upbringing and varied family roots have a significant impact on the development of your personal style, or was this something you developed at an older age as you began to explore your own interests?
Dylan AT Miner: I was raised in the woods in rural Michigan, an area called the Thumb due to Michigan’s geography being shaped like a mitten. The small parcel of land my parents owned backed up onto an 8,000 acre parcel of state recreation land. This land was meant for hunting, hiking, and other such activities. This intimate relationship with the woods gave me a profound relationship with the local geography, thoroughly getting to know the land, its season, and its spirit.
As a Métis person, that is someone of mixed Aboriginal and European descent with roots in the North American fur trade, we do not have Indigenous status in the US. Even though there are historic Métis communities in the US (particularly Michigan, Minnesota, Montana), we do not have the same sovereignty rights as our relations across the US-Canada Border. My family has historic connections to Aboriginal communities in Alberta, Manitoba, Ontario, and Michigan. Following the War of 1812, there was a group of Métis and Anishinaabeg who left what is today Michigan and moved north to the Georgian Bay, not wanting to be living in the United States. The shifting border became an impetus for my family’s migration. Subsequently, my grandfather’s family moved to Detroit in the early twentieth-century, a process of urbanization not unlike the experience of many Native peoples. As an older child my grandfather would share Métis family stories, a strong connection that I had with my grandfather.
The village in which I was raised was primarily white, but did have a significant number of Chicano and Mexican farmworker families who settled in the area over the course of the past two decades. As a Métis person, I saw similarities between the colonial legacy of mestizaje (miscegenation) in the Chicano community and métissage in Canada and the Great Lakes. For instance, my wife’s family is descended from detribalized Indigenous communities in New Mexico and Texas, known as genízaros. These were Spanish-speaking communities of Comanches, Apaches, Tewa, Tiwa, Tano, and sometimes Diné. So even if I didn’t verbalize it as such when I was a teenager, I saw that my indigeneity as a Métis person was shared by my Chicano peers.
At a young age, I began speaking Spanish, building lowrider bikes, and many other things associated with chicanismo. I never saw it as anything other than a part of who I was. In this way, I became active in radical Native and Chicano politics, married into a Chicano family, and artistically have been greatly influenced by Chicano and Mexican printmaking traditions. While the aesthetic influence remains, one can think specifically about my ongoing Native lowrider project (Anishnaabensag Biimskowebshkigewag), much of my more recent work has begun integrating less obvious aesthetic influences and is engaged more heavily in conceptual ideas that play with Indigenous languages and knowledge epistemologies.
Dylan AT Miner, Prints
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
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