Indigenous Art : Home

His head was full of rocks by Tripp, Brian D. Another passionate and intimate look into the universe of beloved Karuk artist, singer, poet, activist, and dancer, Brian D. Tripp (AKA BDT). As with many of his assembling books, BDT swings from the resonance of the micro – his constant personal inner dialogs (often concerning his obsession with rock collecting) with the macro – his Karuk culture and history. His oblique and often blurred multiple personalities narrate the iconographic landscapes of Karuk territory from numerous perspectives reflected by the myriad transparent and opaque papers, media, and page sizes, and the multi-layered collaging that this wonderful book employs. A monumental “‘Shleesh’ (cock/penis/male genitalia) on a leash” provides a last-minute/final page alternative re-interpretation of the book’s title.

Indigenous Woman by Martine Gutierrez At first glance, this appears to be a high-fashion magazine. On closer look, we can see that it’s the work of one artist who planned, modeled for, executed, and published this 120-page volume herself. Martine Gutierrez, a trans woman from a multiracial background, uses the glossy, colorful language of magazines and advertisements to catalogue some of her self-portrait photographic projects. She also explores the ways her identities are caught up in stereotypes and fetishizations while opening up new ways of thinking about those identities. As Gutierrez writes in the Letter to the Editor section: “This is not a magazine about fashion, lifestyle, or celebrity. Fashion is a good veneer for making people look at what otherwise might make them feel uncomfortable.”

La actual cocina ancestral de Mexico : descrita en el siglo XVI por Bernardino de Sahagún y sus informantes indígenas en la "Historia general de las cosas de la Nueva España" también conocida como el "Códice Florentino" : reconocida en 2015 como Memo by Gómez Arriola, Ignacio, author, illustrator, printer.; Taller Gráfica de Comala (Guadalajara, Mexico), Esta carpeta de grabados / libro busca hacer un homenaje a la Cocineras Tradicionales -guardianas vivas de esta antiquísima tradición- y elogiar la permanencia del patrimonio gastronómico mexicano con una carpeta de grabados donde en cada lámina se presenta una selección del texto de Sahagún describiendo los platos y las preparaciones acompañados con un grabado original preparado expresamente para esta edición con la finalidad de expresar la vigencia y pervivencia actual del mismo junto con un texto introductorio"--Publisher's description. This folder of prints / book seeks to pay homage to the Cocineras Tradicionales -living guardians of this ancient tradition- and praise the permanence of the Mexican gastronomic heritage with a folder of prints where each sheet presents a selection of Sahagún's text describing the dishes and the preparations accompanied by an original engraving expressly prepared for this edition with the purpose of expressing the validity and current persistence of the same together with an introductory text. From publisher's description.

Three times three by Tripp, Brian D

The Gustafsen Lake crisis : statements from Ts'Peten defenders. by Anarchist Black Cross.; Solidarity (Organization : Montréal, Québec); Settlers in Support of Indigenous Sovereignty. No jurisdiction / by Settlers in Support of Indigenous Sovereignty (SISIS) -- Colonialism continues / interview with Wolverine, 1996 -- Whose land is it? / Interview with Wolverine, 1997 -- OJ's statement to the court, April 1997 -- Ts'Peten defenders sentenced to jail terms -- Chronology.

Kosamalotlahtol = Arcoíris de la palabra, Vol. VIII by Cartonera Since 2010, the Centro Cultural Yankuik Kuikamatilistla in Xocotla (State of Morelos) has organized the Feria del Libro en Lenguas maternas, Amoxilhuitl In Tonanyoltlahtol (Book Fair in Indigenous Languages) and ever since, the editorial La Cartonera has participated with workshops on the fabrication of cartonera books for the assistants to the book fair. The first volume of the collective book "Kosamalotlahtol: arcoiris de la palabra" was produced in 2013. In volume 8, the texts and images gathered do not only come from speakers of Nahuatl, in its different variants, since the call for publication was open to any mother tongue in Mexico and abroad, receiving texts from various regions of Mexico and Peru. The publication of these texts and images intends to contribute to raising awareness about the importance of Indigenous languages, the right to culture and language, and building from the community.

No ban on stolen land by Muchacha Fanzine Long before Roe v. Wade was overturned, abortion bans have disproportionately impacted Black, Indigenous, and people of color who have been on the frontlines for reproductive justice. From forced birth via slavery to child separation and forced sterilization, attacks on body sovereignty fall under an ongoing legacy of maintaining white supremacist cis-hetero patriarchal power and control. Combining essays, interviews, visual art, speeches, poetry, resources, and a comic, “No Ban on Stolen Land” is a call to action to demand legal & accessible abortion, reclaim our bodily autonomy, and build our collective power in the fight ahead.

Solastalgia : a queer eco-feminist poetry tour by Chen, Jess X. "Justseeds migrant artist, Jess X. Chen and Indigenous, Diné artist & poet, Demian DinéYazhi collaborated on the zine Solastalgia, featuring a sampling of both of their poetry work. SOLASTALGIA: (n.) The pain experienced when the place where one resides or one loves is under immediate assault. SOLASTALGIA: a queer eco-feminist poetry tour featuring the transdisciplinary works and performances of Chinese-American migrant artist JESS X SNOW and Indigenous Diné artist Demian DinéYazhi founder of RISE: Radical Indigenous Survivance & Empowerment. Through poetry and public art, their work embodies the form of time travel and recalls narratives of queerness, love, trauma, fantasy, and survivance. Their work is a reclamation of inherited lands, ancestors, and cultures lost to post-apocalyptic colonial violence. Through poetry they create indigenous and immigrant futures in the time of our current ecological collapse," --https://justseeds.org/product/solastalgia/ (viewed on October 30, 2017)

Survivance : indigenous poesis. Vol. III by R.I.S.E.: Radical Indigenous Survivance & Empowerment "Survivance is a collection of Indigenous poetry that highlights Indigenous narratives in order to heal, inform, empower, and mobilize Indigenous communities. Influenced by the social impact game Survivance, this collection of poetry came together and acts as a bridge between Indigenous tribes from the colonized lands of Canada and the United States of America."--Page vii.

Voices : indigenous women on the front lines speak. Volume 2 of 9, Koot-Ges by Zapf, Wulfgang, interviewer.; Moor, Beyon Wren, illustrator. "Raised on the seas Koot-Ges is a Nisga'a, Tsimshian and Haida Fisherwoman. In 2015, with her children and a handful of women water protectors, Koot-Ges began the occupation of Lax U'u'la."--Back cover

Arctic/Amazon by Gerald McMaster (Editor); Nina Vincent (Editor) Longlisted, First Nation Communities READ Award Honourable Mention, Alcuin Society Book Design Awards (Prose Illustrated) Arctic/Amazon: Networks of Global Indigeneityoffers a conversation between Indigenous Peoples of two regions in this time of political and environmental upheaval. Both regions are environmentally sensitive areas that have become hot spots in the debates circling around climate change and have long been contact zones between Indigenous Peoples and outsiders -- zones of meeting and clashing, of contradictions and entanglement. Opening with an Epistolary Exchange between the editors, Arctic/Amazonthen widens to include essays by 12 Indigenous artists, curators, and knowledge-keepers about the integration of spirituality, ancestral respect, traditional knowledges, and political critique in artistic practice and more than 100 image reproductions and installation shots. The result is an extraordinary conversation about life, artistic practise, and geopolitical realities faced by Indigenous peoples in regions at risk.

Catnosat: Indigenous Art, Knowledge and Sovereignty by Liisa-Ravna Finbog (Editor); Katya García-Antón (Editor); Beaska Niillas (Editor); Liv Brissach (Editor); Brook Garru Andrew (Text by) This "exercise in Sámification" highlights Sámi Indigenous knowledge across all fields of art and life In 2022, Sámi artists present their art and worldview at the Venice Biennale for the first time, representing Sápmi (the Sámi homeland that spans Scandinavia and the Kola Peninsula). The Sámi pavilion revolves around three key elements: transgenerational relations; holistic Sámi knowledge and learning; and Sámi spiritual perspectives. This slipcased spiralbound volume serves as a project in its own right, considering Sámi notions of nonlinear time and the centrality of storytelling and sound. Its three sections can be flipped around the spiral in any order, reflecting this nonlinear theme. The core of Catnosat features the pavilion's artists, Pauliina Feodoroff, Máret Ánne Sara and Anders Sunna. The second section compiles a play, poems and stories expressing Sámi political and philosophical perspectives. A third section includes a dialogue with the artists; an essay highlighting Sámi knowledge creation across the ages; and a Sámi glossary.

Early Days by Bonnie Devine (Editor); Sarah Milroy (Editor); John Geoghegan (Editor) Winner of the 2023 Canadian Museum Association award for Outstanding Achievement in Research A landmark publication bringing together more than seventy voices illuminating the rich array of Indigenous art held by the McMichael Canadian Art Collection. Under the editorial direction of Anishinaabe artist and scholar Bonnie Devine, Early Days gathers the insights of myriad Indigenous cultural stakeholders, informing us on everything from goose hunting techniques, to the history of Northwest Coast mask making, to the emergence of the Woodland style of painting and printmaking, to the challenges of art making in the Arctic, to the latest developments in contemporary art by Indigenous peoples from across Turtle Island. Splendidly illustrated, Early Days not only tells the story of a leading collection but traces the emergence and increasing participation of many Indigenous artists in the contemporary art world. This publication will be the largest in the history of the McMichael, and represents a vital acknowledgment of the place of Indigenous art and ways of knowing in global art history. Featured contributors: Barry Ace, Pierre Aupilardjuk, Leland Bell, Dempsey Bob, Violet Chum, Hannah Claus, Dana Claxton, Taa.uu Tuuwans Nika Collison, Alan Ojiig Corbiere, Marcia Crosby, Ruth Cuthand, Mique'l Dangeli, Sarah Florence Davidson, Robert Davidson, Blake Debassige, Bonnie Devine, Tarralik Duffy, Norma Dunning, David Garneau, John Geoghegan, Janice Grey, Haay'uups (Ron Hamilton), Jim Hart, Emma Hassencahl-Perley, Emily Henderson, Lynn Hill, Richard William Hill, Maria Hupfield, Heather Igoliorte, Luis Jacob, Gayle Uyagaqi Kabloona, William Kingfisher, Jessica Kotierk, Robin Laurence, Duane Linklater, Ange Loft, Tanya Lukin Linklater, Jean Marshal, Michael Massie, Kaitlin McCormick, Gerald McMaster, Ossie Michelin, Sarah Milroy, Antoine Mountain, Nadia Myre, Wanda Nanibush, Jeneen Frei Njootli, Ruth B. Phillips, Jocelyn Piirainen, Ryan Rice, Carmen Robertson, Paul Seesequasis, Leanne Betasamosake Simpson, Wedlidi Speck, Michelle Sylliboy, Snxakila Clyde Tallio, Drew Hayden Taylor, Nakkita Trimble, Jesse Tungilik, Camille Georgeson-Usher, William Wasden Jr., Jordan Wilson, Jessica Winters.

Exposure: Native Art and Political Ecology by Manuela Well-Off-Man (Editor) Indigenous artists worldwide respond to environmental destruction Documenting international Indigenous artists' responses to the impacts of nuclear testing, nuclear accidents and uranium mining on Native peoples and the environment, Exposure gives artists a voice to address the long-term effects of these manmade disasters on Indigenous communities in the United States and around the world. Indigenous artists from Australia, Canada, Greenland, Japan, the Pacific Islands and the US utilize local and tribal knowledge, as well as Indigenous and contemporary art forms as visual strategies for their works. Artists include: Carl Beam (Ojibway), De Haven Solimon Chaffins (Laguna/Zuni Pueblos), Miriquita "Micki" Davis (Chamoru), Bonnie Devine (Anishinaabe/Ojibwa), Joy Enomoto (kanaka maoli/Caddo), Solomon Enos (kanaka maloli), Kohei Fujito (Ainu), Kathy Jetñil-Kijiner (Marshallese-Majol), Alexander Lee (Hakka, Tahiti), Dan Taulapapa McMullin (Samoan), David Neel (Kwagu'l), No'u Revilla (kanaka maoli/maoli-Tahitian), Mallery Quetawki (Zuni Pueblo), Chantal Spitz (maohi), Adrian Stimson (Blackfoot), Anna Tsouhlarakis (Diné/Creek/Greek), Munro Te Whata (Maori/Ninuean) and Will Wilson (Diné).

Indigenous Histories by Adriano Pedrosa (Editor, Editor, Text by) Centuries of art celebrating a global panorama of Indigenous cultures Continuing the work of the acclaimed Afro-Atlantic Histories, this publication from the Museu de Arte de São Paulo (MASP) compiles the collective curatorship and research carried out by artists and scholars from various territories and Indigenous groups in Australia, North America, South America and Scandinavia. For the traveling exhibition, MASP, in collaboration with Kode Bergen Art Museum, invited guest curators from Indigenous nations including Inuit, Maori and Sámi. With over 150 artists included, the featured artworks range from the historical to the contemporary--from 17th-century colonial religious paintings to modern film and video installations--in order to trace the impact of European colonization on Indigenous visual culture. Despite its scope, the aim of Indigenous Histories is not to fully represent the vast and complex histories of each region, but rather to provide a cross section, fragment or sample of these histories in a concise but relevant selection in order to create juxtapositions of these groups on a global scale. Incorporating traditional patterns, this beautifully designed book is divided into eight thematic sections: seven regional and one covering contemporary Indigenous activism. It features over 300 illustrations with narratives contextualized by the guest curators as well as museum directors from institutions around the world. Artists include: Abraham González Pacheco, Antonio Paucar, Britta Marakatt-Labba, Cristóbal Lozano, Iver Jåks, Frida Kahlo, Joar Nango, Katarina Spik Skum, Lena Stenberg, María Izquierdo, Maria Karlsen, Minerva Cuevas, Outi Pieski, Raisa Porsanger, Rufino Tamayo, Saturnino Herrán, Venuca Evanán.

In Our Hands by Jaida Grey Eagle (Editor); Casey Riley (Editor); Jill Ahlberg Yohe (Editor) A groundbreaking exhibition catalogue of Native, First Nations, Metis, and Inuit photography from the nineteenth century to the present day   Photographs of and by Native people have long been exhibited in museums. All too often, however, such exhibitions have misrepresented vital cultural and historical contexts, neglecting the depth of practice, supporting scholarship, and Native perspectives relevant to the work. By developing a broadly representative curatorial council of prominent academics and artists, more than half of whom represent Native communities in the United States and Canada, this book significantly expands the traditional discourses of photographic history.   With incisive contributions by individual curatorial council members, In Our Hands presents Native photography in three thematic sections that underscore the following: Native people are present in all facets of American life; their role is transformative in the larger society; and their view of, and connections to, the land and all living things is holistic and fundamental. The publication features 130 photographic works by Native photographers from the late nineteenth century to the present, ranging from documentary photographs to family snapshots to conceptual works. Illustrated in full color, the photographs in this book offer diverse perspectives spanning geographic, chronological, and artistic experience, and shed new light on the extraordinary contributions of Native, First Nations, Metis, and Inuit artists to the art of the Americas.   Distributed for the Minneapolis Institute of Art   Exhibition Schedule   Minneapolis Institute of Art (October 2023-January 2024)

Moving the Museum by Wanda Nanibush (Editor); Georgiana Uhlyarik (Editor) Winner, Toronto Book Awards Moving the Museumdocuments the reopening of the J.S. McLean Centre for Indigenous & Canadian Art with a renewed focus on the AGO's Indigenous art collection. The volume reflects the nation-to-nation treaty relationship that is the foundation of Canada, asking questions, discovering truths, and leading conversations that address the weight of history and colonialism. Lavishly illustrated with more than 100 reproductions, Moving the Museum: Indigenous + Canadian Art at the AGOfeatures the work of First Nations artists -- including Carl Beam, Rebecca Belmore, and Kent Monkman -- along with work by Inuit artists like Shuvinai Ashoona and Annie Pootoogook. Canadian artists include Lawren Harris, Kazuo Nakamura, Joyce Wieland, and many others. Drawing from stories about our origins and identities, the featured artists and essayists invite readers to engage with issues of land, water, transformation, and sovereignty and to contemplate the historic and future representation of Indigenous and Canadian art in museums.

Preoccupied by Dare Turner (Editor); Leila Grothe (Editor) Interrogates the colonial underpinnings of museums Published on the occasion of the "Preoccupied: Indigenizing the Museum" initiative at the Baltimore Museum of Art, this book centers Native artist voices and challenges collective understandings of Native peoples' pivotal role in North American history. The written and visual contributions address and refute the oppressive and pervasive hierarchies of colonialism upon which museums are based. The book features essays by heather ahtone (Chickasaw / Choctaw), Paul Chaat Smith (Comanche), and John Lukavic; newly commissioned poetry by Heid E. Erdrich (Ojibwe); a comic conceived, written, and illustrated by Weyodi Old Bear (Comanche), Dale Deforest (Diné), and Lee Francis IV (Pueblo of Laguna); and transcripts of roundtable discussions with contemporary Native artists. Fifty plates spanning a range of media from monographic and thematic exhibitions showcase both historically significant works from the BMA's collection and the works of living artists, many of whom offer their perspectives in the catalog, including Julie Buffalohead (Ponca Tribe of Oklahoma), Dana Claxton (Lakota First Nations-Wood Mountain), Nicholas Galanin (Tlingit and Unangax̂), Duane Linklater (Omaskêko Ininiwak), Cannupa Hanska Luger (Mandan, Hidatsa, Arikara, and Lakota / Three Affiliated Tribes of Fort Berthold), Alan Michelson (Mohawk / Six Nations of the Grand River), Caroline Monnet (Anishinaabe/French), Laura Ortman (White Mountain Apache), Kevin Pourier (Oglala Sioux), Rose B. Simpson (Santa Clara Pueblo), Kay WalkingStick (Cherokee Indian), and Dyani White Hawk (Sičáŋǧu Lakota). The work offers an important contribution to current global conversations around the decolonization of museums.

Project 562 by Matika Wilbur NEW YORK TIMES BESTSELLER . A photographic and narrative celebration of contemporary Native American life and cultures, alongside an in-depth examination of issues that Native people face, by celebrated photographer and storyteller Matika Wilbur of the Swinomish and Tulalip Tribes. "This book is too important to miss. It is a vast, sprawling look at who we are as Indigenous people in these United States."-Tommy Orange (Cheyenne and Arapaho), author of There There Longlisted for the Andrew Carnegie Medal In 2012, Matika Wilbur sold everything in her Seattle apartment and set out on a Kickstarter-funded pursuit to visit, engage, and photograph people from what were then the 562 federally recognized Native American Tribal Nations. Over the next decade, she traveled six hundred thousand miles across fifty states-from Seminole country (now known as the Everglades) to Inuit territory (now known as the Bering Sea)-to meet, interview, and photograph hundreds of Indigenous people. The body of work Wilbur created serves to counteract the one-dimensional and archaic stereotypes of Native people in mainstream media and offers justice to the richness, diversity, and lived experiences of Indian Country. The culmination of this decade-long art and storytelling endeavor, Project 562 is a peerless, sweeping, and moving love letter to Indigenous Americans, containing hundreds of stunning portraits and compelling personal narratives of contemporary Native people-all photographed in clothing, poses, and locations of their choosing. Their narratives touch on personal and cultural identity as well as issues of media representation, sovereignty, faith, family, the protection of sacred sites, subsistence living, traditional knowledge-keeping, land stewardship, language preservation, advocacy, education, the arts, and more. A vital contribution from an incomparable artist, Project 562 inspires, educates, and truly changes the way we see Native America.

Sovereign Words by Katya García-Antón (Editor); Liv Brissach (Text by); Daniel Browning (Text by); Kabita Chakma (Text by); Megan Cope (Text by) Artists and cultural practitioners from Indigenous communities around the world are increasingly in the international spotlight. As museums and curators race to consider the planetary reach of their collections and exhibitions, this timely publication considers the challenges faced today by cultural workers, Indigenous and non-Indigenous, as they try to engage meaningfully with the histories, presents and futures of Indigenous cultural practices. In this volume, 16 Indigenous voices convene to consider some of the most burning questions surrounding this field. What are the novel and empowering methodologies of the future? What are the possibilities and limitations of a politics of inclusion? To whom does the much talked-of "Indigenous Turn" belong? A first-of-its-kind reader appearing at a critical moment, Sovereign Words includes perspectives across art, film, ethics, history, theory and museology.