MoCNA 2013 Summer Exhibitions
Santa Fe, NM | Jun 25, 2013 –
The IAIA Museum of Contemporary Native Arts (MoCNA) celebrates the opening of its Summer 2013 Exhibitions featuring Changing Hands: Art Without Reservation 3/Contemporary Native North American Art from the Northeast and Southeast, Selected Works, and solo exhibitions by Cannupa Hanska Luger: STEREOTYPE: Misconceptions of the Native American, Jacob Meders: Divided Lines, and Steven J. Yazzie: The Mountain. It will also feature SWAIA’s Indian Market Moving Image Classification X winners in the Helen Hardin Media Gallery. The exhibitions and films open to the public on Friday, August 16, and continue through December 31.
The opening reception will take place on Thursday, August 15 from 5 p.m. to 7 p.m. at MoCNA (108 Cathedral Place). The reception will feature a special performance by Oneida-Iroquois singer, composer and acoustic guitarist Joanne Shenandoah. The opening is free to the public.
Changing Hands: Art Without Reservation 3/Contemporary Native North American Art from the Northeast and Southeast, Selected Works
Main, Fritz Scholder and Foyer Galleries
Changing Hands: Art Without Reservation 3/Contemporary Native North American Art from the Northeast and Southeast, Selected Works concludes a cycle of landmark exhibitions conceived and organized for the Museum of Arts and Design, New York City by Guest Curator Ellen Taubman to present a comprehensive and in-depth cross section of innovative and groundbreaking work by Indigenous artists who are expressing a new vitality and spirit of experimentation in Native art – artists who embrace tradition while moving forward and looking towards the future. In June 2012, Changing Hands 3, comprising more than 100 works by 85 Native artists from the United States and Canada, had its premiere showing at the Museum of Arts and Design in New York City, followed by an international tour. The variety of mediums was as diverse as the broad geographic region from which the artists came, encompassing the areas east of the Mississippi – the Great Lakes, Woodlands, Northeast, Southeast and up through the Canadian Subarctic. Changing Hands 3, Selected Works opening at the Museum of Contemporary Native Arts (MoCNA) in August 2013, will focus on a number of the works featured in the original exhibition. Some choices have been made based on the space limitations within MoCNA’s galleries as a consideration; the curatorial vision of the edited exhibition has also sought to acknowledge MoCNA’s ongoing commitment “to increasing public understanding and appreciation of/for contemporary Native art.”
As with Changing Hands 1 and 2, Changing Hands 3 recasts the featured works through the lens of contemporary art and design from around the globe. The exhibition considers the new generation of Native artists who utilize and incorporate contemporary techniques, materials, aesthetics, and iconography into their art and design practice, with a goal towards transcending ethnographic and anthropological interpretations and challenging preconceived notions and stereotypes of Indigenous art and artists. Ultimately, the overriding goal has been to effect a reevaluation of contemporary Native art in an international arena. Changing Hands 3 provides audiences with a sensory experience of the complex, multilayered work of contemporary Native artists as they confront cultural expectations, reclaim lost traditions, and create a new identity for themselves shaped by historical, political, and personal circumstances. Through an extraordinary melding of past and present, and direct opposition between stereotype and tradition, the Native artists featured in Changing Hands 3 confront what it means today to be Native and to be an artist.
Changing Hands: Art Without Reservation 3/Contemporary Native Art from the Northeast and Southeast was organized by the Museum of Arts and Design, New York and has been made possible by the National Endowment for the Arts. The exhibition catalogue was supported in part by a grant from the Smithsonian Institution’s Indigenous Contemporary Arts Program. The presentation of Changing Hands 3, Selected Works at MoCNA is made possible with additional support from the Dobkin Family Foundation.
Steven J. Yazzie: The Mountain
Steven J. Yazzie’s work is about land, as a place of personal reflection, a framework for Indigenous cultural relevance, and a point of reference to changing politics related to urbanization.
For the exhibition the ‘mountain,’ Yazzie recognizes place as an entity with multidimensional interpretations and has become an essential location for his creative investigations, as a source of history, knowledge and power. The new installation includes sculpture, painting, digital photographic prints, and a multichannel video to build experiential entry points into the various narratives associated with the ‘mountain’. One notable component in the exhibition comprises of a three-channel video ^ (Looking For Tsosido), which explores the narrative of process and journey. Tsosido, a word with unknown meaning, was Yazzie’s father’s nickname when he was a child. This gap or mystery in his family history has become one point of departure in the larger story in the work. Tsosido therefore functions as a point of personal reference, an evolving polymorphous mythology, containing framework for building a new relationship with personal history in the context of a culturally significant place and the subjectivity of transient action.
Click below for previews of the videos:
^(Looking for Tsosido)
Jacob Meders: Divided Lines
In the exhibition Divided Lines, artist Jacob Meders examines the complex misrepresentation of Indigenous peoples in North America from the early depictions created by artists of 15th/16th century European society. By incorporating an aesthetic that emulates the historic woodcuts, Meders’ panoramic installation toys with the idea of assimilation, emulating figures with a likeness to Indigenous and western European cultures as one body. Divided Lines challenges a superior perceived identity shaped from a lasting Western perspective built over time.
Cannupa Hanska Luger: STEREOTYPE: Misconceptions of the Native American
“Native American” is an umbrella term for the Indigenous population of North America. This term, being so broad, has allowed many external source interpretations from anthropologists to Hollywood directors.
The reality of the matter is that the continent of North America is vast with environmental complexity ranging from arctic tundra to semi-tropic wetlands. These variations have developed into culturally rich and autonomous societies that bare very little resemblance to one another across such a large land mass.
The use of boom boxes or better yet, ghetto blasters as a vessel for response to some of the stereotypes placed upon these cultures creates an icon of pop-culture. This icon is an obvious play on words as it is a type of stereo. The ceramic construction of the vessels is also a melding of cultures. Applying clay traditions to archaic technologies for an altogether modern aesthetic. Each boom box will create a space for observation of Native American stereotypes. The purpose of the exhibition is to expose the absurdity of fixed labels.
SWAIA’s Moving Image Class X Winners 2013
Helen Hardin Media Gallery
This film program features SWAIA’s Indian Market Moving Image Classification X winners. This category is one of the most recent classifications to be added to the juried market. Awards for Narrative Short, Documentary Short, Animation Short, Experimental Short and Music Video, recognize an artist’s dedication and skill in working with new media and innovative art forms while retaining a commitment to traditional creation and technique. Award winners will be shown in the Helen Hardin Media Gallery starting Friday, August 16th through December 31st.