August 19 – December 31, 2011;
C. Maxx Stevens’ exhibition is a conceptual installation. The new work by C. Maxx Stevens is based on her memories and experiences dealing with devastating effect of diabetes throughout native nations. The exhibition would create a larger social awareness of the epidemic and its dilemna in all of the United States.
May 27 – August 31, 2011, Allan Houser Art Park;
Will Wilson’s installation of a hogan greenhouse is a living and sustainable sculpture (from his Auto Immune Response series), was installed in MoCNA’s outdoor Allan Houser Art Park. Through this project, Wilson sees the sculpture as a pollinator, creating formats for exchange and production that question and challenge the social, cultural and environmental systems that surround us.
May 27 – July 31, 2011;
The IAIA Faculty and staff exhibition engages with the theme Totem; an Anishnaabe word traditionally pronounced doodem, is an object or symbolic representation associated to identity and social issues.
April 15 – July 31, 2011;
The artists selected for HIDE draw upon this subject in many ways, using both the material and concept of skin as a metaphor for multi-faceted issues surrounding identity as well as personal, historical, and environmental trauma and perseverance. In their work, they interrupt our understanding of race, distort our perception of “skin,” and breach the artificial boundaries created by this potent subject matter. Rather than hiding difficult issues, they expose what is beneath the surface.
April 15 – May 12, 2011;
This year’s IAIA BFA graduates have invested themselves to ponder, reflect, critique and devote their time to represent culminating artworks based on the fluctating relationships between the themes of memory, texture and time. Their perspective helps them to share experiences they have faced and stories they are told. As time passes, the layers of memory build up and unfold as texture in their work.
January 15 – March 31, 2011;
Eighteen artists reflect, re-examine and/or critique the phenomenon of Kateri Tekakwitha (Mohawk), prominent “saint” figure among the converted. The exhibition re-imagines Kateri through an Indigenous lens that includes recontextualizing history and the impact of convergence that shifted religion, tradition and cultural practices across North America.