The term ‘decolonization’ has been used frequently to describe the exhibition yəhaw̓. But you won’t hear its curators call it a decolonial project. So what is it, if not that?
The Metropolitan Museum of Art’s series of talks and tours on Art of Native America: The Charles and Valerie Diker Collection helps visitors better contextualize artwork by Indigenous creators across the centuries.
The program will fund initiatives through the CMA’s network of 2,600 museums and cultural institutions.
Ontario’s provincial government has said that the budget cuts are being made to balance a $15 billion deficit, but the slashed funding would only account for about .05% of that total, while comparatively reducing a massive portion of the programs and services provided by the region’s major art organizations.
What unites this patchwork exhibition is the land: The artists are all Native Americans whose ancestry is tied to the place now known as New York State.
The artist’s first solo exhibition in Toronto transposes the viewer into the oral traditions and everyday domestic rituals of Indigenous female life through documentation of dance and movement.
Candice Hopkins curated the sculptures by six Canadian Indigenous artists in Edmonton’s North Saskatchewan River Valley.
In a roundtable discussion at the EFA Project Space, Indigenous women and invited guests will hash out how best to center Indigenous voices and decolonize our institutions.
With a major promised gift of 91 works of Native American art, the Metropolitan Museum of Art will now include indigenous art in its galleries on American art.
An Acoma shield that was removed from a May auction in Paris that included human remains and indigenous sacred objects has yet to be returned.
To better protect sacred indigenous objects from being sold in international markets, Senator Martin Heinrich has introduced the Safeguard Tribal Objects of Patrimony (STOP) Act with support from politicians of both parties as well as tribal leaders.
Some of the best-known 19th-century ledger art was created by Cheyenne, Arapaho, Comanche, Kiowa, and Caddo prisoners of war at Fort Marion in St. Augustine, Florida, following the Red River Wars.