For almost three decades, Alan Michelson has attended to place, histories, and futures, and the lived realities of Indigenous peoples in North America.
California Stars illuminates contributions to contemporary art that have been long ignored and excluded from the standard Euro-American canon.
Roberts centers the beauty and vulnerability of Black children, which is often seized from them at a young age via systemic violence in the United States.
Steven J. Yazzie and Patrick Dean Hubbell dismantle blatant distillations of Native visuality for profit that continue to commit and perpetrate harm against Indigenous artists and communities.
In both his approach to art making and in the subject matter he explores, Simmons foregrounds the unknown as an integral part of his process.
The 101st edition of the Native arts festival featured 800 artists and extensive programming.
Touch is at the core of Watt’s latest body of work, featuring hanging metal sculptures that echo the energy and spirit of a Native powwow.
The city of Mesa canceled a series of shows of political street art just weeks after the museum refused to withdraw Fairey’s work depicting a police officer in riot gear.
Sculpting voluptuous figures with richly dynamic surfaces creates a shared humanity between Halfmoon, the artwork, and the viewer.
“In this long journey, it is step by step, hand over hand, something like climbing a rope,” she tells Hyperallergic in an interview.
The artist-performer’s career undulates, ever so gracefully, across multiple mediums and registers of generational pain, healing laughter, and Indigenous joy.
How is legacy defined, who defines it, whom does it serve?