The artist’s photographs shine a light on the unseen, resisting colonial categorization and institutional biases around art made by Native artists.
Multiple cultural heritage sites of the Native Calusa people were impacted when the Category 4 storm hit Florida last September.
“Revolution is a daily practice — a life choice. Not a selfie at a protest,” says Onondaga artist Frank Buffalo Hyde.
“Art has a place in helping people begin to understand the layers of this history,” says artist Randy Kemp.
As the Uru-eu-wau-wau face continued incursion by Brazilian farmers, they take an active role in this documentary about them.
“[We] find it inadmissible that Pedro Reyes, a male artist who does not identify as Indigenous, was selected to represent ‘the Indigenous woman,'” says the group.
“Diža’ No’ole” walks a line between revealing and concealing, respecting the women’s decision to keep some things hidden.
The beads, located in three Indigenous sites in Alaska, date to the mid-to-late 15th century, prior to Columbus’s landfall.
Is public apology a practice that should be abandoned, or should it be reimagined? Looking at AA Bronson’s “A Public Apology to Siksika Nation” provides some guidance.
Visitors can read the handwritten 1830 act that was signed by Andrew Jackson and led to the forced removal of indigenous tribes across the United States.
A new online archive revisits George Legrady’s 1973 photography project about the Cree communities of James Bay, Quebec.
CONCHO, Okla. — Overgrown grass creeps up around the decayed remains of the Concho Indian Boarding School, its faded yellow walls pocked with gaping doorways and boarded windows.