Museum of Contemporary Native Arts

Past Exhibitions

VISION Projections»

January 21 – March 31, 2012;

The VISION Projections is a commissioned program of 4 short films by emerging directors Carey Tully, Dylan McLaughlin, Ryan Begay and Marcella Ernest, all of who have attended the IAIA. Each artist brings to the screen, his or her interpretation of “vision.”

Wendy Red Star: Rez Car»

January 21 – March 31, 2012;

Wendy Red Star’s work explores the intersection between life on the Crow Indian reservation and the world outside of that environment. She thinks of herself as a Crow Indian cultural archivist speaking sincerely about the experience of being a Crow Indian in contemporary society.

Richard Glazer Danay: Shake, Rattle & Roll»

January 21 – March 31, 2012;

In the exhibition, Mohawk artist Richard Glazer-Danay reflects upon traditional material culture and sources new materials to make rattles relevant to culture and ceremony in the 21st century. At the beginning of the 19th century, man-made materials were integrated into the rattles – like the Calumet baking powder tin can that sometimes replaced traditional materials in function, not spirituality.

Peter B. Jones: Prophecy»

January 21 – March 31, 2012;

Prophecy is a timely exhibition pertaining to Indigenous prophecies. By incorporating themes of ecology, creation, demise and the future according to the Mayan calendar, traditional Iroquois teachings and other cultural beliefs, Jones provides a visual representation of the foretold truths.

Vestige Vagabond»

August 20 – August 21, 2011;

Vestige Vagabond is a public art performance by artists Maria Hupfield and Charlene Vickers to be hosted by the Museum of Contemporary Native Arts in conjunction with the exhibition Counting Coup.

Counting Coup»

August 19 – December 31, 2011;

Counting Coup is a form of prestige, pride and power. “Counting coup” is an expression originating from Plains Indian tactics of intimidation, and an act of bravery that accounts for survival originating from personal victories in non-violent battle exploits. The evidence of confrontation, interaction, and risk encountered through incessant forms of colonization are recorded as experiences and achievements etched in memory, heart and spirit.

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