TULSA, Okla. — Decades after the 1876 Battle of the Little Bighorn, Stephen Standing Bear, who participated in the tumultuous engagement, recalled its chaos: “I could see Indians charging all around me. Then I could see the soldiers and Indians all mixed up and there were so many guns going off that I couldn’t hear them.”
SANTA FE, NM — The worlds of fashion and fine art often collide, both in the museum and on the runway.
PHOENIX, Ariz. — Super Indian: Fritz Scholder, 1967–1980, currently on view at the Phoenix Art Museum, features over 40 oil paintings and prints by the Luiseño artist.
TOLEDO — Indigenous Beauty: Masterworks of American Indian Art from the Diker Collection presents a conundrum of conscience.
Too often museums exhibit indigenous art of the United States as artifacts made by ghosts, even though many of these traditions are still inspiring contemporary creators.
What does it mean to be Ojibway now, in 2016?
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.
Tsireh’s watercolors recall a remarkable period of creative art-making from the Native American community, and this exhibition gives him dimension and the recognition he deserves.
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.
One of the most popular images of the 1876 Battle of the Little Bighorn is “Custer’s Last Stand” by Cassilly Adams, who ditched historical accuracy for a romanticized George Armstrong Custer standing tall against the encroaching horde of horseback warriors.
SANTA FE — An Evening Redness in the West explores the landscape of an apocalyptic world, investigating the doom of end times but also their promise of a new beginning.
ALBUQUERQUE — Archives have a particular meaning to Indigenous people.