IAIA Museum of Contemporary Native Arts

06/17/2020

“I’ve been navigating through some big questions: Why is survival of historical traumas met with alcoholism or violence or abuse? Would my family’s narrative have turned out differently if there was no removal from our ancestral land? What influences changed the role of the father? ⁣
The building of the Kinzu Dam in 1965 and the closing of the Thomas Indian School in 1957 are still part of our community’s recent history, so what does survival mean by adding a new generation to the family in the face of the continued effects of colonialism? How does humor play a part in the healing? This work has become part of my answer to those big questions.” ⁣
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-Luanne Redeye (Seneca Nation/Hawk Clan) ⁣
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Shown: If We Forgive Our Fathers What is Left, 2017. Frame: fabric, seed beads, paper, thread; Study: gel photo transfer, gouache, and acrylic on watercolor paper.

06/16/2020

My Frame Series focuses on weaving together personal narratives and family relationships to explore larger themes that affect Native communities. When I became a first-time mom over four years ago, I thought about the relationships I have with my family—how my relatives impacted who I am and what events have shaped who we are as a family. ⁣
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Luanne Redeye’s work is a part of the new summer exhibition, FRAMED, featuring work by Tamara Ann Burgh (Inupiat-Kawarek/Swede) and Luanne Redeye (Seneca Nation/Hawk Clan). The museum is still closed, but a virtual exhibition will be available next month! So stay tuned. ⁣
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Luanne Redeye (Seneca Nation/Hawk Clan) was born in Jamestown, NY and grew up on the Allegany Indian Reservation in Western New York. Redeye studied at the University of New Mexico and received her MFA in 2011. She has exhibited in solo and group exhibitions in museums and galleries throughout the US and abroad. ⁣
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Shown: My Survival Led to Him/ “I wont Hurt You, I will Protect You”, 2016. Frame: recycled screen print on paper, fabric, seed beads, thread; Study: gel photo transfer, gouache, and acrylic on watercolor paper. ⁣

06/09/2020

Artist Talk: Jeffrey Veregge

Join artist Jeffrey Veregge (Port Gamble S'Klallam) and MoCNA Senior Manager of Museum Education, Winoka Yepa (Diné) for a discussion of Veregge's artistic journey from growing up on the rez, his artistic process, and current works in progress. This artist talk is based on MoCNA's exhibition, Indigenous Futurisms: Transcending Past/Present/Future.

06/05/2020

MoCNA Stands in Solidarity: A Message by Director, Patsy Phillips

Dear Members and Friends,

The IAIA Museum of Contemporary Native Arts (MoCNA) stands in solidarity with Black Lives Matter against the killing of George Floyd, Ahmaud Arbery, Breonna Taylor, and countless others who have been victims of police brutality and racial inequality. We grieve for the injustice and mistreatment of all people of color and we acknowledge the pain. Indigenous People too have been murdered by police at inordinate numbers without accountability. The missing and murdered Indigenous women and girls’ crisis has existed for decades without serious examination and investigation by the police. Today we join together to challenge the present by seeking justice and equality.

MoCNA is not neutral. We tell the truth about contemporary Indigenous Peoples. Art has the power to tell the truth and heal. Truth telling, reconciliation and transformation are the seeds of healing. Art is an important weapon against hate and prejudice. We are committed to supporting Indigenous artists who create work that addresses the issues of race, inequity and violence against people of color thus changing lives. In our collection is an installation created in 1994 by IAIA Academic Dean Charlene Teters (Spokane) titled It Was Only An Indian that resonates today.

In response to her work created 26 years ago, Teter says, “The impact of racism and hate is real. The tragic murder of George Floyd is an example of the real impact of dehumanization, hate and racism. When you dehumanize a people and it is done so publicly, we are vulnerable to acts of hate and violence, that we face every day somewhere in America. Like the violence directed at our Native women who are murdered and missing and somehow, that is not seen as a national tragedy… because, It was only a non-human.” This installation articulates the issues Indigenous Peoples have experienced since colonization. The dehumanization of Indigenous Peoples parallels that of other people of color.

Dr. Robert Martin (Cherokee), President of the Institute of American Indian Arts, urges the community to join the struggle against racism, hatred, and violence. He asks that we provide positive and constructive contributions to the national conversation about race and poverty in this country. As a fine arts college president, he encourages us to use our creative talents to fashion innovative statements about what is happening. He encourages the IAIA community to not stand quietly by while these injustices continue to damage the health and moral fiber of our peoples.

With renewed determination, the IAIA Museum of Contemporary Native Arts will continue addressing issues of injustice, racism and inequity.

Sincerely,

Patsy Phillips (Cherokee), Director
IAIA Museum of Contemporary Native Arts

06/04/2020

Institute of American Indian Arts (IAIA)

The following is a message from Institute of American Indian Arts (IAIA) President Dr. Robert Martin (Cherokee Nation), regarding the tragic death of George Floyd in Minneapolis that has sparked this past week's Black Lives Matter protests.

You may also view the statement at www.iaia.edu/statement-from-dr-martin-about-black-lives-matter/

06/03/2020

Check out the virtual exhibition of the IAIA 2020 Spring Senior Graduating Exhibition, Memory Unearthed.

Memory Unearthed is a culmination of the students’ final semester, where they worked closely with advisors, faculty, staff, and colleagues to create and articulate their conceptually-driven body of work. This exhibition represents a capstone to their course of study, as well as their academic experience.

Visit the following link to view the exhibition: https://iaia.edu/memoryunearthed/

06/01/2020

Today marks the beginning of 🏳️‍🌈 Pride Month. ⁣⁣
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A bit of history on Pride Month:⁣⁣

Pride started with protest.

In June of 1969, patrons and supporters of the Stonewall Inn staged an uprising to resist the police brutality and persecution to which LGBTQ people were commonly subjected to. These protests marked the beginning of a movement to outlaw discriminatory laws and practices against LGBTQ people. ⁣⁣(Courtesy of the Anti-Violence Project)
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“Push back against a culture [a society] that tells us we are less than, that our lives don’t matter!” -Alphonso David

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⁣Shown: Kent Monkman (Cree), Fisher River Band⁣
History is Painted by the Victors, 2013. Acrylic on canvas. A part of the “Art for a New Understanding: Native Perspectives, 1950s to Now“ exhibition that was at MoCNA from January 25,2019 to July 19, 2019. ⁣
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05/28/2020

“Cannon’s literacy, philosophical, and social concerns had a strong influence upon his art. His prints produced at the Institute reflect the emerging young artist, looking back into his childhood while looking forward into his projected new life…” Seymour Tubis, 1980⁣
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T.C. Cannon (Caddo/Kiowa)⁣
Attended IAIA—1964-1966⁣
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Sometime Ago, AP, n.d.⁣
Drypoint on paper⁣
Gift of Nina Tubis Wooderson Trust⁣
IAIA Art Collection: CD:38⁣
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For more on T.C. Cannon and the origins of the IAIA Printmaking studio, visit Experimental exPRESSion: Printmaking @IAIA, 1963-1980 at the IAIA Museum of Contemporary Native Arts.

05/28/2020

A Letter From The Director:

Dear Members and Friends,

As we enter a new month of COVID-19, I want to let you know, how and what we’re doing at the IAIA Museum of Contemporary Native Arts (MoCNA). I’m happy to report that all of our staff are healthy, cautious and protecting themselves from this serious virus. Beginning on March 18th, our staff worked from home and were extremely productive. On May 18th, some employees returned to work in the museum and a few continue to work from home. In the office, we are using all the recommended precautions. We aren’t sure yet, when the museum will reopen to the public, but rest assured when we do, all precautionary measures will be in place for the public and you will be among the first to know.

In early March we received word from the American Alliance of Museums (AAM) that MoCNA received accreditation—the highest national recognition afforded to the nation's museums. Accreditation signifies excellence to the museum community, to governments, funders, outside agencies, and to the museum-going public. AAM Accreditation brings national recognition to MoCNA for its commitment to distinction, accountability, high professional standards and continued institutional improvement. Less than 10% of museums nationwide have received accreditation from AAM. Of the nation's estimated 33,000 museums, only 1,070 are currently accredited.

Until we open to the public, we have exhibitions and programs happening virtually. We invite you to visit:

1. The exhibition Indigenous Futurisms: Transcending Past/Present/Future will stay on view in the museum until January 3, 2021. The traveling show we planned to install in its place this summer, When I Remember I See Red from the Crocker Museum, was unfortunately cancelled due to COVID-19. Since not many of our visitors were able to see Indigenous Futurisms after it opened in February, we decided to keep this exceptional exhibition on view. The catalog was just released and is now available in the museum store at: https://iaia.edu/store/ Until you can see the show in person, we invite you to visit the exhibition virtually: https://www.artsteps.com/view/5e6bb844c131b94e2168ad2b

2. Resistance Through Existence is co-curated by the Institute of American Indian Arts’s museum studies student Faithlyn Seawright (Chickasaw) and MoCNA’s chief curator, Dr. Manuela Well-Off-Man and features 12 graduating IAIA seniors. The exhibition tackles a wide variety of topics ranging from the revitalization of tribal regalia and mask making to healing from traumatic events that happened as a result of European colonization. Inspired by their ancestors and culture, many of the artists examine what it means to be Indigenous and part of a living culture. Resistance closes May 29, 2020, but can be viewed virtually: https://iaia.edu/vr-experience-resistance-through-existence/

3. Way of Sorrows, an installation by Charlene Teters (Spokane), addresses current issues such as forced migrations and the US-Mexico border crises, while asking questions about responsibility and identifying new myths. This exhibition closes May 29, 2020, but can be viewed virtually: https://iaia.edu/event/charlene-teters-way-of-sorrows/

Two new exhibitions will be installed June 4. Staff may also turn these shows into virtual exhibitions, but hopefully you’ll be able to see them live and in person later this year.

4. Tom Jones: Strong Unrelenting Spirits, June 4 - March 28, 2021. Strong Unrelenting Spirits features new works from Tom Jones' series of portraits that are rooted in his Ho-Chunk identity. The works extend the boundaries of photography by incorporating beadwork directly onto the photographs.

5. Tamara Ann Burgh & Luanne Redeye: FRAMED, June 4 - January 24, 2021. The exhibition FRAMED investigates issues of self-representation and identity and examines the "American Experience" from a Native perspective through mixed media works by Tamara Ann Burgh (Iñupiat-Kawerak/Swede) and Luanne Redeye (Seneca Nation of Indians/Hawk Clan). Both artists often include family and found portrait photos in their artworks, which they alter through overpainting. Presented in seemingly nostalgic, decorative frames, which evoke American folk art and Victorian-era Iroquois beadwork, these works invite viewers to contemplate alternate histories, intergenerational trauma and authenticity.

In addition to our exhibitions, we welcome you to engage with contemporary Native art through our array of online virtual educational resources. Through artmaking, curriculum guides, and other fun activities, visitors of all ages can learn more about various works of art in MoCNA's exhibitions and collections. The following resources can be found at: https://iaia.edu/mocna/mocna-education/

1. The MoCNA Education Program has created a series of educational workbooks for each of the artists featured in the Indigenous Futurism exhibition. These workbooks explore topics related to the artwork and interests of each artist. The first workbook, "Storytelling Through Comics," is inspired by the work of Jeffrey Veregge (Port Gamble S'Klallam). Learn how to create your own comic book through storytelling and learn about the Indigenous world of superheroes.

2. Enjoy coloring pages depicting a work of art from MoCNA’s collection or exhibitions created by IAIA alum, Daniel McCoy Jr. (Muscogee Creek/Citizen Band Potawatomi). Simply download, print, and color away. Share your creations with us on Instagram by tagging @iaiamocna. We can't wait to see your creations!

When we have a date to re-open safely, I will send another letter with details regarding our plan to protect our members and visitors from COVID-19. We hope everyone is staying safe, and we look forward to seeing you in-person when we can all meet again.

Sincerely,


Patsy Phillips (Cherokee)
Director

05/22/2020

The newest MoCNA publication is fresh off the press, Indigenous Futurisms, is now available to purchase!!

IAIA Museum of Contemporary Native Arts (MoCNA) recently announced the release of the exhibition catalogue for Indigenous Futurisms: Transcending Past/Present/Future. The catalogue investigates a major trend in Contemporary Native Art -- the rise of futuristic or science-fiction inspired Native American art. The essays and artworks present the future from a Native perspective and illustrate the use of Indigenous cosmology and science as part of tribal oral history and ways of life. Several of the artists use sci-fi related themes to emphasize the importance of Futurism in Native cultures, to pass on tribal oral history and to revive their Native language. However, Indigenous Futurism also offers a way to heal from the traumas of the past and present-the post-apocalyptic narratives depicted in some of the artworks are often reality for Indigenous communities worldwide.

⁣Among the authors of Indigenous Futurisms are MoCNA chief curator Dr. Manuela Well-Off-Man, Dr. David Begay (Navajo), Andrea Carlson (Ojibwe), Dr. Suzanne Newman Fricke, and Chelsea Herr (Choctaw Nation of Oklahoma).

To purchase the catalogue click: https://iaia.edu/product/indigenous-futurisms-transcending-past-present-future/

📸 by: Jason S. Ordaz, IAIA, 2020

05/21/2020

“Well Mr. Tubis taught us the basics of art theory and talked about contrast, the color wheel, and complimentary and composition elements. Perspective to some extent…he was very formulistic in the way he taught us. He wanted us to absorb in a certain discipline about our work and really learn the rules for composition before we ran off and did our own thing.” ⁣
-Susan Sheoships, Oral History, 2018⁣
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For more on Susan Sheoships and the origins of the IAIA Printmaking studio, visit Experimental exPRESSion: Printmaking @IAIA, 1963-1980 at the IAIA Museum of Contemporary Native Arts.⁣
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Artist: Susan Sheoships (Cayuse)⁣
Attended IAIA—1969-1970, 1972-1973⁣
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Shown: Water Walker, ed. 1/6, n.d.⁣
Etching on paper⁣
Gift of the Nina Tubis Wooderson Trust⁣
IAIA Art Collection: CSE-13

#printmakingthursdays

05/19/2020

Congratulations to our IAIA graduates and to all graduates, near and far! In the words of Congresswoman Deb Haaland, “You are the dream that our ancestors had.” ⁣
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Shown: Brian Walker (King Island Inupiat/Deg Hit’an Athabascan), Prayer for the Individual (Salmon), 2019.
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Photograph by Jason S. Ordaz, IAIA, 2020

05/13/2020

"My artwork stems from my love of movies, comics, pop culture, and my family. The reference used for this piece is an actual photo of my great grandfather sans space suit. And after researching different war propaganda posters, 1960s comic book covers, and Golden Age movie posters, I felt that the best way to capture the look of a comic printed during the Silver Age of comics (1956-1975) was by
exposing my image on a photopolymer plate.

Space Indians was an idea I had one day while sitting in class. In a different reality, what would happen if the government took away all of our land? With the planet dying, what would we do and where would we go? My answer, space! This would be the first in a series, pulling new inspirations from pulp magazines as well as comics showcasing our journey through the stars. From the dusty forgotten landscape of the moon to the ice volcanoes of Titan. And hopefully one day, we will find another uncorrupted world to call our home." -James McCloud

Shown: JAMES MCCLOUD (PAIUTE), Space Indians, 2013
Lithograph, edition 3 of 5, 19 ½ x 16 ¾ inches (framed). Collection of August Walker