Contemporary North American Indigenous Artists

  1. Search
  2. About
  3. Ask me anything
  4. Subscribe
  5. Archive
  6. Random
  1. Native Artists Websites
  2. Native Artists without Websites

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

  • Gail Tremblay - Iroquois / Micmac

    Interview by Amanda Rhoads

    March 2010

    Gail Tremblay is an artist with skills using a wide variety of materials to create art. At the Portland Art Museum, I stood with my class viewing the Native American galleries. My instructor Wendy Red Star mentioned that the film basket made by Gail Tremblay in one of the display cases was one of the few examples of contemporary Native art in that section. This fact intrigued me. Wendy then added that Gail is known as an articulate writer. The art of writing is something to which I am increasingly drawn. It was this day in the museum and Wendy’s comments that inspired me to interview Gail Tremblay. In our interview Gail provided references to works that communicate the complex, thoughtful, and inspiring process of making art.

    And Then There is the Hollywood Indian Princess, 2002Sculpture - 16 mm film, metallic braid  9 x 7.25 x 7.25 inches

    Ms. Tremblay used an educational film about sexually transmitted diseases to create this basket. It was included in the ArTrain exhibit of contemporary Native American Art curated by Joanne Osbourne Bigfeather, and in Tattered Cultures, Mended History, curated by Mary Babcock, at the Academy Art Center, Honolulu, HI 2008, and it was reviewed, Artweek November 2008. It is in the collection at the Hailie Ford Museum at Willamette University in Salem, Oregon. (Froelick Gallery)


    Indian Princess in a White Dress, 2006Sculpture - 16 mm film, metallic braid  

    9 x 7 x 7 inches


    Amanda Rhoads: It was mentioned that your works are “reclaiming native history.” The piece “Indian Princess in a White Dress,” would seem to need more explanation to convey a message of reclamation of Native history to an audience without any knowledge of Native history. As it is alone, a person might easily experience the piece as another stereotypical Indian image. Does it matter if people consciously “get” your piece, or is the energy and intent enough, and further explanation would actually take away from the intended experience? 


    Indian Princess in a White Dress, 2006

    Sculpture - 16 mm film, metallic braid  
    9 x 7 x 7 inches


    Gail Tremblay: Where was it mentioned that my works are “reclaiming native history”?

    Some do, but some of my film baskets comment on images of Indians in the media, some play with and make ironic commentary on stereotyping, I am enclosing a slide list that will help you understand something about how I use/choose materials and write titles. You might also want to look at the article in the July/August art ltd. magazine on the work in my April/May exhibit in the Froelick Gallery for insight about my film baskets. I am also including an artist statement about the film baskets in particular, and an artist statement that talks about various periods of my work which was in the gallery notebook for a retrospective exhibit I did in 2001 called Twenty Years in the Making. It is hard to reduce the work I show to a single theme, although works of a particular period may relate to a particular theme.

    Read More

    Tagged: Gail Tremblay Contemporary Native American Art

    Posted on March 28, 2010 with 18 notes

Field Notes Theme. Designed by Manasto Jones. Powered by Tumblr.