Native American Sovereignty's Impact on the Curation of Indigenous Art – Hyperallergic

0
162

Hyperallergic
Sensitive to Art & its Discontents
Editor’s Note: This event is part of the 2021/22 Emily H. Tremaine Journalism Fellowship for Curators, following three posts by the Fellow, the third of which was an email-only exhibition sent to all Hyperallergic subscribers.
On Tuesday, January 25, at 7pm (EST), join us for a special online event with curator Tahnee Ahtone as she discusses the many facets of her curatorial work with the Kiowa Tribe and her recent Hyperallergic email exhibition, in which she treated readers to an exclusive viewing of the tribe’s important educational murals, previously on private view until now.
The conversation will explore how curation for a Native American community connects the realities of Native sovereignty and why it is crucial to include tribal governments when engaging with historical and artistic material related to their communities.
Register here.
Tahnee Ahtone (Ahtoneharjo-Growingthunder) is an enrolled member of the Kiowa tribe, serving many roles in the arts as a museum director, policy advisor, curator, and artist. Well versed in tribal relations, her 25-year career in museums contributes to the arts serving the US, Canada, and Europe. Her platform as a cultural arts leader is to guide organizational alignment in tribal diplomacy and diversity through engagement initiatives. Tahnee provides advisory and consultation services to assist museums, institutions, and nonprofits in bettering their tribal relations and understanding Indigenous cultures. She has been recognized as a Center for Curatorial Leadership Fellow ’21, has won the Oklahoma Museum Association “Service to the Field” Award ’19, and Dodd Research Center Participant (UpStander Project for Human Rights) ’17. She is an Alumna of the Institute of American Indian Arts (BFA), Harvard University (ALM), Columbia University Business Leadership (Certified), and Swansea University (ABD) “Political and Cultural Studies, Stewardship of Native American Art.”
Catch up with Ahtone’s work before the event — check out her Hyperallergic articles and email exhibition:
Native American Sovereignty’s Impact on the Curation of Indigenous Art: A Conversation With Tahnee Ahtone, Kiowa Tribal Museum Director will be hosted on Zoom on Tuesday, January 25, at 7pm (EST).
This virtual conversation is free; registration is required to attend.
Register here.
This week, Patrisse Cullors speaks, reviewing John Richardson’s final Picasso book, the Met Museum snags a rare oil on copper by Nicolas Poussin, and much more.
Alexi Worth’s paintings demand a double take that allows viewers to look closer and begin dissembling the painting in order to understand what is being looked at.
Graduate students in the University of Denver’s Emergent Digital Practices program work on research with faculty who are engaged directly with their communities, both online and off.
Anastasia Pelias’s sculpture builds on this mythological legacy, suggesting we all have the ability to commune with a higher power and influence our futures.
Jack Spicer’s poetry can be deeply funny and playful but it has a consistent undercurrent of sadness.
Curated by Jill Kearney, this exhibition in Frenchtown, NJ amplifies stories both local and universal with work by Willie Cole, Sandra Ramos, sTo Len, and more.
Belinda Rathbone’s biography traces the sculptor’s embrace of kinetic mechanisms to his work in the Singer Sewing Machine factory.
It’s the first time in the country’s history that objects of this significance are offered for public sale.
The first lecture is on the relationship between early portrait photography and diverse notions of US identity during the Gilded Age. Register to attend on January 25.
Schwartz was at the forefront of computer-generated art before desktops or the kind of software that makes it commonplace today.
Curator La Tanya S. Autry shares a set of crucial questions she considers when curating images of anti-Black violence.
Crys Yin’s subject is grief, which, for all that takes place in public, is largely a private matter.
Your email address will not be published. Required fields are marked *






{{#message}}{{{message}}}{{/message}}{{^message}}Your submission failed. The server responded with {{status_text}} (code {{status_code}}). Please contact the developer of this form processor to improve this message. Learn More{{/message}}
{{#message}}{{{message}}}{{/message}}{{^message}}It appears your submission was successful. Even though the server responded OK, it is possible the submission was not processed. Please contact the developer of this form processor to improve this message. Learn More{{/message}}
Submitting…
Hyperallergic is a forum for serious, playful, and radical thinking about art in the world today. Founded in 2009, Hyperallergic is headquartered in Brooklyn, New York.

source