In the limited-edition risograph comic Rezbians, Selam shares a solution for the scarcity of queer Indigenous representation in pop culture.
For almost three decades, Alan Michelson has attended to place, histories, and futures, and the lived realities of Indigenous peoples in North America.
The National Museum of the American Indian has hosted the event since 2005, attracting Native artists from across the country.
Professor and Cherokee Nation citizen Joseph Pierce will lead the cross-departmental, interdisciplinary initiative at Stony Brook University.
Dennis’s exaggerated scenarios compel non-Indigenous viewers to confront racial dynamics that many people in the images choose not to see.
At the center of the acclaimed Abenaki filmmaker’s practice is her effort to counter White, colonialist versions of history.
The Onondaga artist has a propensity for cultural criticism — especially on the issues affecting Haudenosaunee and other Indigenous peoples, past and present.
Murals, flags, performance, and other artistic expressions define the ongoing struggle to protect lands threatened by rampant extraction of the so-called “white gold.”
Launched in 1962, the Micmac Indian Craftsmen collective designed notecards, tapestries, porcelain, and other objects that gained a worldwide audience.
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 a new show in New York City, Ashoona’s memory-based compositions infuse truth coupled with whimsy surrounding life in the Arctic.
Many worry that the broad language of the new changes will be abused by corporate manufacturers and undermine legal protections.