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

  • Nicholas Galanin - Tlingit / Aleut

    Interview by Ronald Egger

    March 2010


    Ronald Egger: In your artist statement you say you have become impatient with the “Indian Art World.” Can you describe what this world is and how you may or may not fit in?


    Image of Silver Hand Logo, a program designed to verify that the object is created by a native artist. The Silver Hand Program mission is to promote authentic Alaska Native art made in the state exclusively by an individual Alaska Native artist. The seal indicates that an article on which it appears is created by hand in Alaska by an individual Alaska Native artist. A permit is awarded for two years from the date issued and must be renewed every two years to remain active.


    Nicholas Galanin: What do you think about programs such as the Silver Hand? Why do we need to verify everything Indian with a number, card, or certificate? The general perception of Indian Art is very misleading. Indian Art is life, humanity and all that we may creatively perceive. My impatience with this scene comes from all that binds the term. The Indian Art World is as I understand (at the moment), my culture’s internal and external being which includes my life experiences on many different social layers. Being brought up both in and away from my indigenous culture I have experienced a very different perspective on my heritage than my great grandparents would have known. The generational spread that our cultural community encompasses moves far beyond a romantic ideal commonly associated with the term Indian Art. We are being culturally dishonest if we reject all that passes through our culture. Economics and cultural objects, curio and collector, Indians and museum, history and the present. I often like to unravel the things that irritate the Indian in me, putting them back on the shelf with new meaning, clarity or focus. As an artist that contributes to my culture, I feel immense gratitude knowing that I am able to give to something greater, this feeling of belonging is the Indian Art World.

    RE: What is the “cultural awareness” that you hope to develop through your artwork as mentioned in your artist statement? I am particularly curious about the idea of increasing awareness for both non-Natives and Native people. Is there a difference in the needed kind of awareness for each of these groups?

     

    Tsu Héidei Shugaxtutaan I

    Video: 4 minute 36 sec. loop, performance by David Elsewhere 

    2006 


    NG: Understanding the term culture is as difficult as defining the term. To become aware of this culture we must engage with it. The complexities of cultural growth and interaction create preconceived ideals, perspectives and viewpoints. Through action and creative risk taking, I, as an artist am able to partake in this cultural development. There are differences in every individual’s need for cultural awareness, the grouping or generalized terms, native, non-native, etc. are products of cultural cross roads.

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    Tagged: Nicholas Galanin Contemporary Native American Art

    Posted on March 28, 2010 with 10 notes

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