The subtle and striking rectangle of the wall text entitled “Memory of the Land” welcomes visitors to the new exhibition. Wendy Red Star: Scratch on Earth, Opened on Friday at the San Antonio Museum of Art. The text lays the groundwork needed to understand the full complexity of the artwork being displayed.
The San Antonio Museum of Art keeps in mind that it is located on the land of indigenous ancestors of the region, including Estokguna (Kalyzocomekourd, Texas), Mission Indians Tefuan Band, and Tappyram Koayurtekan Nation. Many other local indigenous people associated with this land.
However, Red Star’s four artworks on the opening wall initially seem to set aside such solemnity and endorse subtle and mischievous humor. They are self-portraits filled with the colors of artists resting in various naturalistic settings depicting the four seasons, the traditional subject of artists from the ancient world to the present.
Red Star uses artificial turf, nature view wallpaper with visible creases, plastic foam nuggets instead of snow, and inflatable plastic elks to artificially create seasonal settings. Invert the script.
Most striking in each image is the complete Crow regalia, with elaborate decorations featuring various traditional themes such as beaded headbands, neckbands, moccasins, horses and tribal insignia. The artist himself dressed in. The contrast between her appearance and surroundings challenges how indigenous people have been portrayed throughout history, generally divorced from a colonial point of view and from their true context.
White clay and bear grease
Red Star’s commentary includes two other works, especially a timeline of crow history from the 1900s to the present, and a modified portrait sent by the 1800s crow peace delegation to negotiate with the U.S. government. It will be more obvious in the group.
Black-and-white portraits of the National Anthropological Archives are well known as historical images, but Red Star has added a large amount of notation with red ink for correction. Her addition is a personal observation that rehumanizes a stable person who previously ran out of personality, language, and name through ethnographic efforts to document Native Americans as a general representative of “Indian” culture. And provides a combination of obvious historical facts.
As a native of Crow’s booking, familiar with her tribal history, the Red Star notation is from Plenty Coups, a prominent Crow chief in the late 1800s, from descriptions such as “White Clay Bear Grease Pompadour.” There are many things that explain hairstyles. A book length study is written to restore his proud voice. “I shook hands with Prince Albert of Monaco. He was lucky enough to wave my hand,” Plenty Coups said, “most of the bookings were exchanged for two white prostitutes and a fifth whiskey. “.
Red Star’s notation also influenced her first-century historic timeline for the 2017 exhibition at the CUE Foundation in New York, wrapping around in the corner gallery of the exhibition hall. I will return here as a wall installation.
title Um-Basax-Bilua, “Where They Make Noisy” 1904-2016Brings life to Crow photographic depictions collected from a variety of sources, including National Geographic, the Getty Images collection, and her own personal archive of family photos.
The timeline includes Myrtle Bigman in a white dress portrayed, revealing a wealth of historical facts such as “beadwork of crow flowers on a white background became popular in the 20’s and 30’s”. Restore the person’s name.
Red Star herself, as a representative of her family’s pedigree, as the granddaughter of Amy Brightwing Red Star, as an “awkward teenager” holding a can of orange crush soda, and as the proud mother of the crow’s daughter Beatrice. The name, which appears many times on the timeline, is translated into “Sandhill Crow Woman”.
For those accustomed to pushing Native American culture into the presumed past, there is initially one notation. Red Star’s relative, Jameson Red Star, named his horse “Snoop Dogg.”
Curator Nadia Rivera Ferrer, who started an exhibition with Tricia Bloom at the New Ark Museum, said Red Star is a contemporary art rather than ethnographically or based solely on her native identity. He said he insisted on emphasizing the context of.
While working with Red Star, Feller said, “I really came to understand the fact that her history as a Crow Indian is all about our history.”
Red Star details the history of efforts to protect indigenous lands, but “it’s not only the history of her tribe, but also the history of America,” Feller said.
Its history is current, as the theme of the exhibition, which resonates with its presence in San Antonio, shows. Tap Pilam Coahuiltecan Nation has repeatedly endeavored to claim the bodies of indigenous peoples on the premises of some rejected Alamo, partly because the tribal group has not been officially approved by the federal government.
Fellah emphasized not only the simultaneity of Red Star’s artwork, but also how such federal designations continue to function in the artist’s own personal life. Feller, now an associate curator of contemporary art at the Cleveland Museum of Art, has worked with Red Star to create a new piece for the current exhibition. Now draw motherhood This details that a daughter cannot be a federal-approved Crow member because she does not meet the requirements.
“So she wants to confront this identity crisis and tell her daughter all about this heritage, but basically very deliberately by the US government to ban future generations of these tribes. I know there is this barricade built, “Feller said.
The above “Memory of the Land” arranged by each museum that the show visits in collaboration with local indigenous groups makes members of the indigenous community as fully present members of society, and often unrecognized American history. Shows the willingness to work as a representative of the core of.
Wendy Red Star: Scratch on Earth It will be held at the San Antonio Museum of Art until May 8. You can access it with regular admission to the museum. Maze Symposium: A virtual keynote by Wendy Red Star at the Contemporary Perspective of Native American Art on February 25th and 26th.