This fall, two Native American artists, Rebecca Nagle and Graci Horne, traveled to Standing Rock, North Dakota, to create a healing tent and to work on their “Monument Quilt,” which addresses sexual violence. The latter is a project fashioned after the well-known AIDS Memorial Quilt.
They are among the thousands of people who have converged on the Standing Rock Reservation in an attempt to stop the Dakota Access Pipeline, which activists say could pollute the Missouri River and destroy a local way of life. Artists have a substantial presence at the camp, where water protectors and their allies are praying and engaging in nonviolent resistance. Government officials say they will begin ticketing and arresting the protesters starting December 5, but today roughly 2,000 veterans arrived at Standing Rock to support the people in the camp.
As part of their project, Nagle and Horne have organized women-only and Native women–only healing circles for survivors. They talked to me about the prevalence of sexual violence against and stalking of Native American women, particularly in North Dakota, where many so-called “man camps” house temporary oil workers.
This is the second in our three-part series on the situation at Standing Rock. You can listen to our first installment here. This is the raw recording of a conversation that took place with the two artists at the camp on November 25. We wanted to publish the unedited version to offer you a window into the historic nature of the Standing Rock standoff — to spotlight the Native American artists who have become part of the camps and allow them to share their thoughts in full.
Tomorrow, we will publish the third and final installment in our Standing Rock podcast series.
The small New York art fair celebrated its 26th edition with the works of 11 women artists.
The artist couple shared creativity and mutual devotion reflecting a period of light and joy that came after considerable darkness in their early lives.
Conversations with Leslie Barlow, Mary Griep, Alexa Horochowski, Joe Sinness, Melvin R. Smith, and Tetsuya Yamada will be accessible online or in person at the Minneapolis College of Art and Design.
The plot of Maureen Fazendeiro and Miguel Gomes’s film moves backward in time, continually recontextualizing what at first looks like a simple situation.
It’s art fair season and we’re here to comfort and entertain you during this difficult time of the year with a new, biting edition of our Bingo card series.
Now on view in Pasadena, this exhibition explores how four artists challenged the limitations of gestural abstraction by exploiting the resonance of figural forms.
The artifacts are estimated to date from 400 to 300 BCE, when Greek settlements existed along the northern shores of the Black Sea near Odesa.
Jeremy Webster of Leicester University’s Attenborough Arts Centre reportedly pelted the statue from behind a fence.
Northwestern’s Block Museum of Art Presents A Site of Struggle: American Art against Anti-Black Violence
This new exhibition in Evanston, Illinois considers how art has been used to protest, process, mourn, and memorialize anti-Black violence for more than a century.
Snapchat CEO Evan Spiegel and model Miranda Kerr paid off the student loans of 285 recent graduates.
Cammie Tipton-Amini’s opinion piece “When Ukraine Was Newly Independent and Everything Was Possible” employs simplistic whataboutism that dangerously echoes Putin’s lies.
Anthony Banua-Simon’s documentary Cane Fire contrasts decades of Hollywood images of his home with its current reality.