scholarly journals Representing indigenous cultures: Alaska Native contemporary art exhibits in Anchorage

2006 ◽  
Vol 28 (1) ◽  
pp. 37-56
Author(s):  
Dawn Biddison
Keyword(s):  
Native American ◽  
Contemporary Art ◽  
Alaska Native ◽  
Public Art ◽  
American Art ◽  
Multiple Perspectives ◽  
The Public ◽  
Indigenous Cultures ◽  
Native Art ◽  
Critical Attention

Abstract In this article, I evaluate how Alaska Native contemporary art is presented to the public by examining artists’ perspectives, artwork exhibits and viewer reception of the art. My goal is to substantiate the need to critically address how Alaska Native cultures are represented at museum and public art venues in Anchorage, Alaska. In particular, I seek to emphasize the importance of creating contextualized presentations of Alaska Native art using multiple perspectives and interpretative media based on collaboration between exhibitors and Native artists and communities. More inclusive informative presentations can begin to address the differing requirements of a variety of audiences, utilize the critical attention given to Native American and Euro-American art elsewhere, and provoke a re-thinking of stereotyped preconceptions that continue to diminish the accomplishments of Alaska Native artists and limit perceptions of Alaska Native cultures.

Ludic Recycling in Latin American Art : From Remixing the City to Sampling Nature

2020 ◽  
Author(s):  
Anne-Marie Schleiner
Keyword(s):  
Latin American ◽  
Public Art ◽  
American Art ◽  
Environmental Damage ◽  
Natural Habitats ◽  
The Public ◽  
Production Cycles ◽  
Electronic Hardware ◽  
The City

In this chapter I foreground an ecologically aware, ludic approach to crafting public art experiences, drawing primarily from interviews with four prominent Latin American artists. Conditions observable in the global South that influence these artworks include urban sprawl and shanty towns, electronics waste sites accumulating from the rapid production cycles of electronic hardware, and the environmental damage of natural habitats. My intent in this chapter is to offer a view into a field of public art production in Latin America where artists and critics have over the past few decades developed a sophisticated, yet inclusive visual, interactive, and playful dialogue with the public.

Native American Expressive Arts

2016 ◽  
Author(s):  
Anya Montiel
Keyword(s):  
Native American ◽  
Contemporary Art ◽  
The United States ◽  
Late Nineteenth Century ◽  
The Arts ◽  
Native Art ◽  
Late Nineteenth ◽  
And Performance ◽  
The Impact

Opening with the life and art of Dakota artist Oscar Howe, the chapter discusses the “Indianness” of Native art and the frustrations experienced by Native artists over the years surrounding their creative expressions. The chapter is arranged chronologically, opening in the late nineteenth century and highlighting sample exhibitions, artworks, and artists from the United States in order to illustrate broad conceptual issues. These include Indian authenticity and identity, differences between fine art and “crafts,” traditional versus contemporary art forms, the role of the arts in economic development, and the impact of federal power on the arts. The chapter draws examples from painting, sculpture, photography, video, and performance art. It concludes with a proposal for understanding Native art inspired by the words of Santa Clara artist Rose Simpson.

Consumption as Assimilation: New York Times Reporting on Native American Art and Commodities, 1950–1970

2018 ◽  
Vol 53 (4) ◽  
pp. 972-996
Author(s):  
REETTA HUMALAJOKI
Keyword(s):  
New York ◽  
Native American ◽  
New York Times ◽  
American Art ◽  
The United States ◽  
Indian Policy ◽  
Native American Art ◽  
Federal Indian Policy ◽  
Indigenous Cultures ◽  
Art Collectors

The appropriation of Indigenous cultures has sparked multiple controversies in the United States over the past decade. This phenomenon is not new, however. This article examines New York Times reporting on Native American art and commodities to demonstrate how trends in consuming “Indian” products contributed to the assimilationist federal Indian policy of termination, between 1950 and 1970. In this period the consumption of items perceived as “Indian” shifted from an elite art collectors’ activity to a widespread fashion trend. Nevertheless, Times reporting shows that throughout this era shopping for “Indian” items subsumed Indigenous cultures into the imagined unity of a national American identity.

scholarly journals Caddo Pottery in Modern and Contemporary Art and Protection of Native American Cultures in Fine Arts by the IACB’s Indian Arts and Crafts Act

2012 ◽  
Author(s):  
Chase K. Earls
Keyword(s):  
Native American ◽  
Contemporary Art ◽  
Fine Arts ◽  
American Art ◽  
Arts And Crafts ◽  
George Washington ◽  
Native American Art ◽  
Pueblo Indian

Hello, my name is Chase Kawinhut Earles. I was named by Julia Edge, daughter of Pauline Washington, who was the granddaughter of the Caddo chief, George Washington. I recently, well, not that very long ago started creating Caddo pottery with the much appreciated guidance from Jeri Redcorn. I have been an artist all my life, but mostly only a painter, not much clay, sculpture or pottery. I was inspired to create pottery though, but my experiences were with the Southwest and the Pueblo artists, as this is what I grew up around and what I learned. But I never started. I never found any inspiration. I realized one day it was because I am not a Pueblo Indian and creating Pueblo or Southwest pottery would, to me, feel hollow. I would feel as though I was just creating knock-offs or replications, and not truly inspired or authentic art. This beginning is what defines me and my ideas about Native American Art. Jeri Redcorn and I are two of only maybe a few active Caddo traditional potters. As we work to revive our long tradition and heritage of pottery we have started to unfold an ancient legacy that has proven to be very unique among other native cultures.

Remembering How to Forget: An Artist's Exploration of Sound

2001 ◽  
Vol 11 ◽  
pp. 65-69 ◽  
Author(s):  
Scanner
Keyword(s):  
Public Art ◽  
Cellular Phone ◽  
Sound Art ◽  
The Public ◽  
Electronic Sound ◽  
Significant Performance ◽  
The Relationship ◽  
Digital Landscape

This article is an introduction to the work of electronic sound artist Scanner, which explores the place of memory, the cityscape and the relationship between the public and the private within contemporary sound art. Beginning with a historical look at his CD releases a decade ago, the article explores his move from his cellular phone works to his more collaborative digital projects in recent times. With descriptions of several significant performance works, public art commissions and film soundtrack work, the piece explores the resonances and meanings with the ever-changing digital landscape of a contemporary sound artist.

Lowercase Strategies in Public Sound Art: celebrating the transient audience

2013 ◽  
Vol 18 (1) ◽  
pp. 14-21 ◽  
Author(s):  
Peter Batchelor
Keyword(s):  
Public Art ◽  
Public Domain ◽  
Sound Art ◽  
Acoustic Ecology ◽  
Public Places ◽  
The Public ◽  
Everyday Lives ◽  
A Site

Public art invariably involves the drawing of individuals into the roles of audience and participant by virtue of it being in the public domain – in public places where those individuals are getting on with their everyday lives. As such, a large proportion of the ‘audience’ is an unwitting one, subjected to the art rather than subscribing to it. This is equally true of public sound art, where response to an intervention may vary from engagement to non-engagement to indifference to unawareness, along with a variety of transitional states between. This essay seeks to investigate this ambiguous territory in public sound art, proposing it both as an area rich in possibility for creative exploration and as a means by which artists may reveal and encourage sensitivity to the existing characteristics of a site (thus accommodating the pursuit of agendas relating to acoustic ecology). In particular it investigates and presents a case for the use of lowercase strategies in sound art as ways in which the public might be invited into a dialogue with works (invitation rather than imposition) and thus empowered as partakers of public sound art.

scholarly journals Poetic Examination of Spatial Experience: Suprematist Composition No. 1, Black on Grey by Kristina Leko

2018 ◽  
Vol 12 (1) ◽  
pp. 163-176
Author(s):  
Katarina Rukavina
Keyword(s):  
Public Space ◽  
Contemporary Art ◽  
Virtual Space ◽  
Spatial Experience ◽  
The Public ◽  
Social Sphere ◽  
The Social ◽  
Material Goods ◽  
Art Intervention ◽  
The City

The paper analyses the concept of space in contemporary art on the example of Suprematist Composition No. 1, Black on Grey by Kristina Leko from 2008. Referring to Malevich’s suprematism, in December 2008 Leko initiated a project of art intervention in Ban Jelačić Square in Zagreb, where she intended to cover in black all commercials, advertisements, signs and names of various companies. This poetic intervention, as the artist calls it, was intended to prompt people to relativise material goods in the pre-Christmas period. However, despite the authorisation obtained from the city authorities, the companies concerned refused to remove their respective advertisements, be it for only for 24 hours, so this project has never been realised. The project, however, does exist in the virtual space, which is also public, and continues to act in the form of documentation. The non-feasibility of the intervention, or rather its invisibility on Jelačić Square, makes visible or directly indicates the ordering of the powers and the constellation of values in the social sphere, thus raising new questions. Indeed, in this way it actually enters the public space, sensitising and expanding it at the same time.

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