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UPDATE, Sunday, December 4, 4:12pm ET: The Army Corp. of Engineers has announced that they will not approve the permits required for the current Dakota Access Pipeline.
— Medea Benjamin (@medeabenjamin) December 5, 2016
— ChuckModi (@ChuckModi1) December 4, 2016
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The controversial pipeline was originally planned to cross the Missouri north of Bismarck, North Dakota’s capital, but the city protested for fear that it would contaminate their water supply. The pipeline was pushed down river right by the Standing Rock Reservation, which is one of the largest Native American reservations in the United States.
In the Oceti Sakowin Camp, the largest of the three camps, is a prominent art tent area. Dozens of artists and volunteers are silkscreening and producing work. Among those artists is Cannupa Hanska Luger, who grew up on Standing Rock. I spoke to him, along with three of his artist friends (Jesse Hazelip, Raven Chacon, and Dylan McLaughlin), who have joined him here at this request. We are presenting the raw, roughcut version of that roundtable interview with all four artists here because we wanted the artists to be able to share their thoughts in full.
Just hours after my interview with the artists on Friday, November 25, the Standing Rock Sioux Tribe’s Chairman, Dave Archambault II, announced that the US Army Corp of Engineers would be closing public access to the camp. Two days later the US Army Corp of Engineers clarified its stance to a North Dakota television station and declared that: “Those who remain will be considered unauthorized and may be subject to citation under federal, state, or local laws.” Then on Wednesday, North Dakota Governor Jack Dalrymple ordered the expulsion of thousands of Native American and environmental activists camped on federal property near the oil pipeline project. And now hundreds of veterans are arriving at the camps to act as human shields for the protesters.
President-elect Trump, who has an investment in the company behind the project, has come out to say he supports the pipeline. The situation continues to be precarious and there is a great deal of uncertainty about what will come next.
The 40-year relationship that unfolded between Toklas and Stein became the bedrock of Paris’s artistic avant-garde.
Fifty works, all created by women, are brought together across time and media as the Norton Museum of Art reckons with the art world’s patriarchal past and present.
Over 50 years of the artist’s video and media work on how images, sound, and cultural iconography inform representation is on view through December 30.
In the Blactiquing Space, curator and collector Kevin Jones presents deeply fraught objects with emotion, connection, and care.
Dobkin caught the attention of critics early on with her quirky and occasionally self-deprecating works, which often center lesbian identity.
Over the course of three months, the resident artists in Going to the Meadow will collaborate and create with a curated set of continually changing materials.