The first major
exhibition of its kind, "Hearts of Our People," boasts 82 pieces
from 115 Native women across North America
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The
Wisdom of the Universe (detail) by Christi Belcourt (Michif),
2014 (Collection Art Gallery of Ontario, Toronto ©
Christi Belcourt)
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When Osage textile and ceramic artist Anita
Fields was in her early 20s, she learned how to craft ribbon
work by attending weekly informal gatherings at the Osage
Nation Museum in Pawhuska, Oklahomathe oldest of its kind
in the United States. During these classes, fellow women in the
community handed Fields four different colored cotton stripsribbon
was too expensive for beginnersand taught the budding artist
how to sew loose basting stitches and draw a mirrored design down
the full length of each strip. Slowly, Fields snipped and turned
the faux-ribbon corners under, revealing what looked like a reverse
appliqué with colorful layers of fabric underneath.
But these teachings were not the average class at a community center,
Fields notes. Each gathering was intimatefilled with lunch,
laughter, television and asking the elders questions about different
ribbon work and finger-weaving techniques.
"It wasn't just the practice they were sharing with us, it was
doing little things and helping one another out in a way that was
traditional," Fields says. "They were imparting wonderful information
about how to be an Osage woman through showing us the way of being."
Fields continued to seek out the creators and makers, who were
usually women, in her community, using their guidance to ultimately
inspire the creation of her pink-and-blue Osage Wedding Coat titled,
It's in Our DNA, It's Who We Are, featured in the traveling
exhibition "Hearts
of Our People: Native Women Artists."
Looking at the work closely, one can find Fields honoring what
she calls a "continuum of knowledge"the passing on from one
generation to the next; her own detailed ribbon work is located
on the cuff of each sleeve and a small placket on the back.
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Venere
Alpina by Kay WalkingStick (Cherokee), 1997 (Minneapolis
Institute of Art, photo © Kay WalkingStick)
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The piece originates from a military style coat that dates back
to the 1700s, Fields says. For Osage people, this article of clothing
was a form of gifts and exchanges when delegations began interacting
with U.S. government officials. But because the men were too big
to fit into the coats, they passed them over to the women to transform
into an Osage aesthetic for arranged wedding ceremonies. This practice
continued until the early 1950s. After organized marriages decreased,
the coat became important to the tribe's In-Lon-Schka, or
ceremonial dance. Now they're used as a way to "Pay for the Drum;"
the previous Osage drum keeper's family receives a wedding coat
and hat after taking care of the instrument for many years.
The work addresses much of the Osage community's ongoing history.
On the coat's interior, Fields digitally printed photos of historic
moments, documents, ethnology reports and even her great-grandfather.
She embroidered DNA patterns, Osage orthography and sun symbols
to decorate the piece's surface. And while the outside appears identifiablea
coatthe inside reveals a deeper history that recognizes the
Native women who continue to carry on the traditions and customs
of the Osage people.
"Our history has been so suppressed; It has been told from one
side," Fields says. "Now we have the opportunity to speak about
where we come from and who we are."
Adaptation
II by Jamie Okuma (Luiseño/ShoshoneBannock),
2012 (Minneapolis Institute of Art © Jamie Okuma)
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Dress
by an Apsáalooke (Crow) artist, ca. 1930 (Denver
Art Museum: The L.D. and Ruth Bax Collection, 1985.46, photo
© Denver Art Museum)
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"Hearts
of Our People: Native Women Artists" marks the first major exhibition
dedicated to celebrating Native women artists. The show is on the
third stop of a four
venue national tour at the Renwick Gallery of the Smithsonian
American Art Museum (temporarily closed due to the COVID-19 crisis)
before moving on to the Philbrook Museum of Art in Tulsa, Oklahoma.
The exhibition, featuring 82 artworks that span more than a thousand
years, grounds Indigenous women into the art world, and explores
the work of 115 artists of Native nations from the United States
and Canada. Each piece tells a story of the creative forcesoften
the mothers, grandmothers, aunts and sistersbehind Native
American art, and provides a long-overdue space for the representation
and attribution of individual cultures.
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Náhookosjí
Hai (Winter in the North)/Biboon Giiwedinong (It Is Winter
in the North) by D. Y. Begay (Navajo), 2018 (Minneapolis
Institute of Art © D. Y. Begay)
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"It was really important for us to non-anonymize these women, to
tell the story about their complex lives," says Jill
Ahlberg Yohe, an associate curator of Native American Art at
the Minneapolis Institute of Art
and one of the two organizers of the exhibition. "In many ways,
some of these women were not master artists, but they were diplomats,
entrepreneurs and formidable women."
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The
Wisdom of the Universe (detail) by Christi Belcourt (Michif),
2014 (Collection Art Gallery of Ontario, Toronto © Christi
Belcourt)
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No two pieces are alike; the thematic show reflects an ongoing
tradition, but it also provides a response to today's changing world.
Visitors can view a variety of media including textilessuch
as Navajo artist D.Y. Begay's
Southwest landscape painting on woolbeadwork, sculpture, photography,
film and even clothing attire such as beaded and quilled Louboutin
shoes. The curators organized the show under the themes of "Legacy,"
"Relationships" and "Power," with accompanying videos of in-depth
interviews with the contributing artists. To illuminate the different
identities throughout the show, viewers can find panel descriptions
in both English and each artist's Native language.
But at the core of "Hearts of Our People" is its collaborative
process. In 2015, Yohe and Teri
Greeves organized the Native Exhibition Advisory Board, a panel
of 21 Native women artists, curators, art historians and non-Native
scholars from across North America, to give a wide range of nations
a voice during the formation of the show. This radical shift in
methodology not only defined the exhibition's objectives, but it
also eliminated an engrained hierarchy often found in the curatorial
process.
"It was really incredibly important to create an advisory board
of women who could speak for themselves," says Greeves, an independent
curator and member of the Kiowa Nation. "To have that ability to
speak for their communities and for artists in the community."
And as a result, the exhibition's artists have found unique ways
to weave their own Native identities into the show's larger narrative.
Kelly
Church, an Ottawa and Pottawatomi artist and educator wove a
green and copper egga metaphor for new life and fertilityfrom
the fibers of her nation's forest to emphasize the continuance of
cultural teachings and preservation. This Fabergé-like vessel
speaks to her nation's tradition of basket-weaving; Church and fellow
community members relied on the black ash tree to bring the teaching
to life.
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Sustaining
TraditionsDigital Memories by Kelly Church (Ottawa/Pottawatomi),
2018 (Richard Church, Odawa-Pottawatomi © Kelly Church)
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But after the emerald ash borer, a green Asian beetle with a copper
belly, decimated millions of ash trees, Church became an advocate
for preserving a traditional resource. "I was looking ahead to the
futureif we really lose all of our ash resource, we lose the
tradition that we've held onto for so long," Church says. "My life
turned into being an activist for saving the ash trees and creating
pieces to speak about that story."
The work speaks to both the cultural teachings of Church's ancestors
and the reliance of technology to preserve a centuries-old practice.
On the outside, copper pieces interlace the green basket, reflecting
both the color of the emerald ash borer as well as the traditionally
harvested materials of copper and black ash. Church placed a flash
drive and a vial containing an emerald ash borer inside the eggshowing
future generations how to bring back the black ash teachings in
case they disappear.
Reflected throughout "Hearts of Our People," are stories of devastation,
hardship and resilience. A life-sized lightbox image called Fringe,
for example, shows a half-nude woman lying on her side and turned
away from the camera; a gash protrudes across her back, sewed up
by strings of blood-red beads. Rebecca
Belmore, an Anishinaabe artist, created the wound with special
effects makeup to reinforce the violence and economic injustice
placed upon First Nations people. Symbolizing Indigenous strength
and healing, she seems to be saying that Native women have the powerin
their handsto stitch lives back together.
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Fringe
by Rebecca Belmore (Anishinaabe), 2007 (Minneapolis Institute
of Art © Rebecca Belmore)
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And tucked away in the corner room of the exhibition is a last-minute,
yet vital addition to the exhibition: Marianne
Nicolson's Container for Souls. A clear bentwood box
houses a light that brightens a dark room. The piece is carved with
both animals and plants, and along the side are photographs of the
artist's family. The inner light casts a shadow on all four walls,
as visitors can simultaneously experience being both inside and
outside of the box.
Nicolson, a Kwakwaka'wakw and Dzawada'enuxw artist, uses the light
in the bentwood box to show how viewers' bodies interrupt the illumination
and cast a shadow upon the wallreferencing colonialism and
the takeover of Kwakwaka'wakw bodies and lands in 1792.
"We now become a part of this," Greeves says, speaking from her
knowledge of Nicolson's community. "Our people have been the reflection
upon which Americans have created an identity
We are you and
you are usyou are not American without us."
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Bax_wa_na'tsi:
The Container for Souls by Marianne Nicolson (Kwakwa_ka_'wakw,
Dzawada_ 'enux_w First Nations), 2006 ( Collection of the
Vancouver Art Gallery © Rachel Topham)
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Forging individual identities is a crucial thread to "Hearts of
Our People." And Native women artists are at the forefront of reshaping
their narrative through honoring the strength of those that came
before.
"We've been held back in a lot of ways," Church says. "But it was
also about them [Native people] being strong enough and recognizing
that that was their way, but this is our road."
And the path continues to be forged; Yohe hopes that "Hearts of
Our People" inspires a future of significant shows that include
both historic and contemporary Native art. Even a wide breadth of
pieces only skims the surfaceongoing exhibitions must provide
a platform for Native people to speak for themselves and to share
their nation's ongoing knowledge.
"The continuum keeps our culture moving," Fields says. "The makers
and the creators are keeping things alive."
The exhibition, "Hearts
of Our People: Native Women Artists" at the Renwick Gallery
of the Smithsonian American Art Museum, travels next to the Philbrook
Museum of Art in Tulsa, Oklahoma. To support the effort to contain
the spread of COVID-19, all Smithsonian museums in Washington, D.C.
and in New York City, as well as the National Zoo are
temporarily closed.
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