Installation views of Art for a New Understanding: Native Voices, 1950s to Now, August 29, 2019–January 12, 2020 at the Nasher Museum of Art at Duke University. All photos by Peter Paul Geoffrion and courtesy the Nasher. Installation view of Art for a New Understanding: Native Voices, 1950s to Now.Installation view of Art for a New Understanding: Native Voices, 1950s to Now.Installation view of Art for a New Understanding: Native Voices, 1950s to Now.
There is a stirring within our nation, our nations within nations. Indigenous communities who have long felt ignored, cast aside, and silenced are pushing, clawing, demanding to be seen as part of us—and the crisis we are in. Those at Standing Rock and at hundreds of other places are not only working to save our water, our land, our earth, and our sky, but to take their rightful place in our myths and histories. We owe it to them, our past, and our future, to push their art, culture, and ideas to the forefront of our own current thoughts.
— Jasmine Amussen
Installation view of Art for a New Understanding: Native Voices, 1950s to Now.Installation view of Art for a New Understanding: Native Voices, 1950s to Now.
Installation view of Art for a New Understanding: Native Voices, 1950s to Now.
Installation view of Art for a New Understanding: Native Voices, 1950s to Now.Installation view of Art for a New Understanding: Native Voices, 1950s to Now.Installation view of Art for a New Understanding: Native Voices, 1950s to Now.
Amina Daugherty profiles the community work of Atlanta-based artist Tatiana Bell, answering questions on how care can be reclaimed and grief can be navigated communally.
Ming Joi Washington reviews Andrea Chung: Between Too Late and Too Early, highlighting Chung's practice as a "curriculum of care" at the Museum of Contemporary Art, North Miami.
Artist, curator, and writer Paul Bright visits the Greensboro studio of Mariam Aziza Stephan, a painter using abstract landscapes to explore themes of loss.
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