Cover of No Reservation (New York: AMERINDA, 2017)
Diane Fraher, G. Peter Jemison, Athena LaTocha, David Martine, Jaune Quick—to—See Smith
Conversation & Book Launch
Thursday, December 7, 7 p.m.
55 Walker Street
New York, NY 10013
What is today known as New York City stands in the original location of Mannahatta (a Munsee Delaware (Lenni-Lenape) word meaning “rocky or hilly island”). Ecologically diverse, many Native American peoples converged here in vibrant economic and social exchange. A similar spirit today drives the city. While histories of immigration and internationalism have been significant within the city’s rich modern and contemporary cultural innovations, Indigenous artists have also importantly contributed to these developments. Native techniques and practices were influential in the formation of abstract expressionism and artists as celebrated as Robert Rauschenberg and Leon Polk Smith had Cherokee heritage. The artist-curator Lloyd Oxendine opened the American Art Gallery, the first contemporary gallery dedicated to Native American art, on the same block as Artists Space in SoHo in 1970, ushering in a period of self—organized experimentation and collaboration that lead to the establishment of institutions such as the American Indian Community House (AICH) gallery and American Indian Artists, Inc. (AMERINDA).
No Reservation (AMERINDA, 2017) marks the first time that a Native American contemporary art movement — here specifically, the New York Contemporary Native American Art Movement — has been defined as such in print. Written by Nednai—Chiricahua Apache/Montauk/Shinnecock artist David Bunn Martine, it describes the dynamism of Native American artmaking in New York City within theater, visual art, and filmmaking, through both overarching theoretical studies and individual artist profiles. To mark the book’s launch, AMERINDA director Diane Fraher has convened Martine and three other leading Native American artists: G. Peter Jemison, Jaune Quick—to—See Smith, and Athena LaTocha, for a conversation that frames the rich diversity of Native art practices in New York City and further afield today, touching on the vibrant legacy of Oxendine and Polk Smith and acknowledging the contributions of Native theater to the movement.
Adam and Zack Khalil, still from INAATE/SE/ [it shines a certain way. to a certain place./it flies. falls./], 2016
Pena Bonita; Demian DinéYazhi’ with Natalie Diaz, Sonia Guiñansaca and Julian Talamantez Brolaski; G. Peter Jemison; Adam and Zack Khalil with Jackson Polys; Alan Michelson; Native Art Department International (Maria Hupfield, Jason Lujan) and Christopher Green; Laura Ortman; Jolene Rickard; Kay WalkingStick; Kathleen Ash-Milby; Diane Fraher, Athena LaTocha, David Martine and Jaune Quick–to–See Smith; Candice Hopkins; Shanna Ketchum-Heap of Birds and Zoya Kocur
November 19, 2017 – January 21, 2018
Opening Saturday, November 18, 6 – 8 p.m.
Wednesday – Sunday: noon – 6 p.m.
Monday and Tuesday closed
Artists Space is accessible via elevator from street level, welcomes assistance dogs, and has wheelchair accessible non-gender-segregated toilet facilities. For access inquiries please contact Artists Space at email@example.com or 212 226 3970.
Lloyd Oxendine: Lodgepole Pines, 1988, acrylic on canvas, 54 by 66 inches. Photo Troy Paul (Maliseet). Courtesy of Amerinda Inc.
Remembering Lloyd Oxendine
On October 12, Artists Space hosted a launch event for A.i.A.’s October issue on contemporary Indigenous art, with a screening curated by Maria Hupfield and Jason Lujan of Native Art Department International, followed by a discussion of the works with the curators and art historian Jessica L. Horton. The panel was followed by remembrances of Lloyd Oxendine (1942–2015), an artist and curator who was instrumental in the publication of A.i.A.’s 1972 Native American issue. Remarks were shared by Diane Fraher (Osage/Cherokee) and David Bunn Martine (Nednai-Chiricahua Apache-Shinnecock/Montauk), respectively the founding director and chairman of Amerinda Inc., an organization that works to promote Native American artists and foster opportunities for intercultural exchange. After posting Oxendine’s 1972 article “23 Contemporary Indian Artists,” we are sharing Fraher and Martine’s comments to honor his legacy and contribution to A.i.A. —Eds.
NYC’s Native Groups Weigh in on the Columbus Controversy
| October 9, 2017
After clashes between white nationalists and counter protestors over the Robert E. Lee statue erupted in Charlottesville, Va., other cities across the country began to evaluate their divisive public statues. In New York City, Mayor De Blasio vowed to create a commission that would review all “symbols of hate” and make recommendations for the complete removal or modification of a select few.
Missing from the current debate around city art, monuments and markers, however, is testimony from Native groups of people (those with origins in any of the original peoples of North and South America, including Central America and the Caribbean), who have been affected in real ways by the oppressive acts of the men shaped into bronze and stone.
There are important distinctions between those who are descended from the original peoples of different parts of the world—Columbus, for instance, committed atrocities against the Native people of Hispaniola, not the mainland North American tribes who suffered badly in later encounters with White explorers and settlers. Yet the struggle to attain full sovereignty, equality and basic human rights is shared by all Native peoples.
The founder of American Indian Artists Inc. (AMERINDA), the only multi-disciplinary arts organization of its kind in the United States that supports tribally-enrolled artists and members of sovereign Nations since 1987, Diane Fraher (Osage/Cherokee), weighs in on the statue controversy from a different angle…
The Peoples Cultural Plan for Working Artists And Communities In New York City
Continue reading The People’s Cultural Plan
AMERINDA– A Unique Organization
The idea of building strength from within is the primary contribution that AMERINDA provides in its services to Native people. As we celebrate our 30th Anniversary – we continue to honor the greatest diversity of Native contemporary art practitioners outside Santa Fe, New Mexico – those of the New York Movement of Contemporary Native American Arts and its legacy.