Benjamin Harjo, Jr., Honoring the Spirit of All Things, 2001, opaque watercolor, 39 3/4 in. x 27 inches. On loan from Oklahoma State University Museum of Art, Stillwater, Oklahoma. Image courtesy of Crystal Bridges Museum of American Art, Bentonville.Installation view of Space Makers: Indigenous Expression and a New American Art at Crystal Bridges Museum of American Art, Bentonville. Photograph by Tom McFetridge and image courtesy of Crystal Bridges Museum of American Art, Bentonville.Dyani White Hawk, She Gives (Quiet Strength V), 2019, acrylic on canvas, 60 × 48 × 1 5/8 inches. Image courtesy of Crystal Bridges Museum of American Art, Bentonville.
Space Makers: Indigenous Expressionand a New American Art examines the mid-century American art movement known as the Indian Space Painters and the relationship between those non-Native painters, the Indigenous visual and material culture that inspired them, and the artists from the modern Native art movement who expanded upon such creative explorations through their own visual heritage.
Investigating these relationships for the first time, Space Makers reconfigures the history of American art and reveals its foundations in Indigenous space – aesthetically, geographically, and socio-politically. The free, focus exhibition features loans from the Charles and Valerie Diker collection, one of the nation’s preeminent collections of the underrecognized Indian Space Painting movement, and is guest curated by Christopher T. Green, PhD, Visiting Assistant Professor of Art History at Swarthmore College.
Installation view of Space Makers: Indigenous Expression and a New American Art at Crystal Bridges Museum of American Art, Bentonville. Photograph by Tom McFetridge and image courtesy of Crystal Bridges Museum of American Art, Bentonville.Installation view of Space Makers: Indigenous Expression and a New American Art at Crystal Bridges Museum of American Art, Bentonville. Photograph by Tom McFetridge and image courtesy of Crystal Bridges Museum of American Art, Bentonville.
Seen through the work of artists Sofía Gallisá Muriente and Hope Strickland, Daisy Gould considers how hurricanes and storms influence Caribbean moving image practices.
Tyra Douyon visits the studio of Tim Short, a narrative painter based in Stone Mountain, Georgia, to speak on the imaginative and metaphysical iconography tied to Blackness.
May Howard reviews the role of artists-archivists Myriam Amri and Xitlalli Alvarez Almendariz in An Act to Prohibit Camels and Dromedaries from Running at Large at Friends Gallery, Houston.
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