Art for a New Understanding: Native Voices, 1950s to Now
October 6, 2018, through January 7, 2019
For generations, Native American artists have been considered outside the “mainstream” contemporary art world. A new exhibition, organized by Crystal Bridges, will begin to remedy that division. Art for a New Understanding: Native Voices, 1950s to Now is the first exhibition to chart a history of contemporary Indigenous art from the United States and Canada. The exhibition presents some 75 works of art by the most important Native American artists spanning the 1950s to today—such as Kay WalkingStick, Carl Beam, Fritz Scholder, Edgar Heap of Birds, and Kent Monkman—and features works in a wide range of media, including painting, drawing, photography, video, sculpture, sound, installation, and performance art.
This unprecedented exhibition offers Indigenous perspectives on land and history and takes on the politics surrounding the way Native peoples have been represented, challenging historical assumptions and biases about Indigenous art. Ultimately Art for a New Understandingunveils the power and influence of Native American artists, upends what has, until now, been the dominant story about contemporary art, and enriches our understanding of American art.
Art for a New Understanding: Native Voices, 1950s to Now is organized by Crystal Bridges, and curated by independent curator Candice Hopkins (Tlingit, citizen of Carcross/Tagish First Nation), Crystal Bridges Curator of American Art, Mindy Besaw, and Manuela Well-Off-Man, Chief Curator at the IAIA Museum of Contemporary Native Arts in Santa Fe, New Mexico. The exhibition will be on view at Crystal Bridges in the fall of 2018 before traveling to major museums in the United States and Europe. The exhibition will be accompanied by a multi-author catalog that will offer a comprehensive consideration of contemporary Native North American art and feature new essays by art historians, cultural critics, and artists as well as excerpts from key texts from the last 50 years of scholarship and criticism.
Admission sponsored by The Christy and John Mack Foundation. There is no fee to visit this exhibition.
Sponsored by Northwest Arkansas Democrat-Gazette, National Endowment for the Arts, ConAgra Brands, Arkansas Humanities Council, Becky and Bob Alexander, Frank and Pat Bailey, Randy and Valorie Lawson / Lawco Energy Group, and The Sotheby’s Prize.
This project is supported in part by an award from the National Endowment for the Arts. To find out more about how National Endowment for the Arts grants impact individuals and communities, visit www.arts.gov.
This project is supported in part by a grant from the Arkansas Humanities Council and the National Endowment for the Humanities.
Crystal Bridges Museum of American Art was recognized as part of the inaugural Sotheby’s Prize with a commendation that applauds the breadth and depth of ambitious exhibition research for Art for a New Understanding. The Sotheby’s Prize jury believes this exhibition will be a turning point in our understanding of this field.
Booth #719 LIN E
The 95th Santa Fe Indian Market Transforms the City of Santa Fe, with nearly 900 of the continent’s finest Native American artists showing their work in booths filling the Santa Fe Plaza and surrounding streets. The Indian Market is the largest and most prestigious Native American fine art show in the world.
Holly Wilson (Delaware Nation/Cherokee) is a contemporary multi-media artist. She uses the figure as a vehicle to lure the viewer into her stories. Story by story we learn more about the artist, about ourselves, about the ties that bind and the threads that weave together stories to reveal a larger cultural narrative and identity. She tells stories that are sacred and precious, personal and universal, powerful and at times volatile.
The exhibition features new and recent multi-media works in sculpture, installation, and photography.
The accompanying catalog includes essays by Jennifer C. Vigil and heather ahtone and illustrates all the works in the exhibition.
“A View From Within Under The Skin” and 7 Photographs
21c Museum Hotels Oklahoma City 900 W Main St, Oklahoma City, OK 73106
August 2017 – Febuary 12, 2018
The way we see others and how one is seen has been a subject that I have had in my life since I was small. I am both Native American and Caucasian, but growing up I felt more times than I care to count that I was not enough of one or the other and that pull made me question all parts of myself. If I did not look like _____ could I be ______? Where did I fit if I was not a part of this or that group? I have had conversations with many that are from other races and that too was a struggle as well. Is my skin too dark or not dark enough, the texture of my hair or the accent that I speak with. All of this history, this past came to a head one day while getting my children ready for school we were pulling together pencils, folders, colored pencils, and crayons. They had to have 4 sets of 24 crayons each and we had leftovers from sets of the past years, some colors had never been used, and we were combining them together so we’d know how many new boxes would be required. The kids were talking about their friends at the new school and friends of their past school. In the conversation, they were describing the children “the girl with the yellow hair, the boy with the brown skin”, in a very casual descriptive manner with no malice to the differences. This made me think more about how we see people and how one is judged. The smell of the crayons, the vivid colors, and the thoughts of my youth brought me to this crayon project. How we change in our viewpoints of people, and how we judge people based on race and color. We are all one below that surface, that surface of skin, no matter the color, the shape, or the origin.
There are 12 girls and each girl is made in all the 24 colors in a Crayola Crayon box making a total 288 girls. I think if we could see ourselves as all the colors in the crayon box in all the shades we would be kinder we would be able to feel if just for a moment another’s life and our world could change in such a way that kids don’t worry about if they are too light or too dark or if their hair is the right texture to belong.