In Shawn Hunt: Transformation, the Heiltsuk artist expands traditional forms and experiments with new media and painting.
Christopher Green
Christopher Green is a student in the Ph.D. program in Art History at the CUNY Graduate Center and a Graduate Teaching Fellow at Baruch College. His writing has appeared in ARTMargins, The Brooklyn Rail, and exhibition catalogues by the New Museum and the Fondation Fernet Branca. His research focuses on modern and contemporary Native American art and the pressures of the digital mode on culture and art making.
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A Family of Artists Creates a Portrait of Inuk Life Across Three Generations
The exhibition of work by Inuk grandmother, mother, and daughter contains prints and drawings that resonate with intergenerational themes of motherhood and community.
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As Dakota Access Pipeline Leaks, Native Artists Examine Contested Landscapes
In My Country Tis of Thy People, You’re Dying, artists grapple with forcible resource extraction on indigenous lands.
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Against a Feathered Headdress: A Tale of Two Performance Festivals and Native American Voices [UPDATED]
The same day that Latifa Laâbissi donned a faux-Sioux headdress at MoMA PS1, Emily Johnson created a collaborative event that championed indigenous voices and values
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A Step in the Right Direction for the Display of Native American Art
The Newark Museum has rehung its exceptional collection of works by America’s indigenous artists, providing more contextualizing information, while also letting objects speak to each other across eras and regions.
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“When You Tell Someone You’re an Artist that Is Native, They Tell You Who You Should Be”
Wife and husband duo Maria Hupfield and Jason Lujan investigate the question of how to unmoor markers of identity from essentialized contexts while maintaining cultural heritage as a central part of one’s art practice.
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Disco Beads and Abstract Rawhides: Jeffrey Gibson’s Untraditional “Nativeness”
Half a century ago, many Native American artists trying to break into the fine art market were told that their oil paintings would never sell because they were not recognizably “Indian” enough.