Most Recent Exhibition
American Indians of The Southwest is a three-part experimental film doused in contemporaneity and engulfed in dialectical rhetoric with an invitational observation on the current and ongoing social lifestyle of the Indigenous people in the Southwest through the eyes of FOX Maxy (Ipai/Payómkawichum), Kymon Greyhorse (Diné), and Tytianna Harris (Diné). Through this visual experience, the artists convey the misrepresentation of the evolution in the Great Basin area and how this, in turn, relates to the “architecture” and day-to-day social functionaries throughout the Southwest region. The structure, style, and method of this film challenges its viewer’s preconceived notions on Indianess, modernized sanctity, and the wild west tropes that are often portrayed in Hollywood-based media.
NURTURE: In the Life of an Indigenous Person is a six-piece collaborative installation that explores environmental stability and Indigenous futurism by focusing on the adolescent population of West Africa and their upbringing throughout formative years. Nigerian artists, Jaiyeola Oduyoye, Akorede Aremo, Oluchi Nwachukwu, Folabomi Animashaun, Itunu Omotoso, Adaku Emenike, Oluwamayowa Olomo, Omowunmi Ogundipe, Kosisochukwu Nwankwo (June), and Adekepemi Aderemi integrated natural and sustainable based artistic mediums to institute a diverse structure of creativity through weaving, sculpture, textiles, photography and film, and melodic poetry. The living legacy of Indigenous people is one of culture, history, and innovation that has shaped the very core of the world and set high standard of best nurturing and healing practices on this planet. NURTURE: In the Life of an Indigenous Person aims to inspire a culturally conscious environmental practice where the newly born are raised and surrounded by native, locally sourced, re-purposed elements created by Indigenous people and for Indigenous people, as well as create a nostalgic environment for other Indigenous stakeholders. It gives homage to the Nigerian way of life by showcasing architectural, design and artistic intellect by addressing three aspects — safety, impact, and expression.This collection of collaborative works provides avenue into practical and philosophical utilization processes of various forms of artistic expressions used to empower African women and Indigenous women with tools to possess a better understanding of place and space, life, history, and future.
UTA – KUYA: Back Home is a multidisciplinary installation comprising of six bodies of work ranging from photography and film, painting, sculpture, and digital renderings created by Bolivian contemporary artists, Wara Vargas Lara, Elias Huajlliri, Fatima Choque, Salvador Molina, Wara Apaza, and Nelida Condori. UTA – KUYA: Back Home explores the Imaginative theme of being able to walk without prejudice, without borders, and without a sense of time. As Indigenous contemporaries, we can easily inhabit our own worlds through a deep exploration of the past an altruistic reflection of the present. Historically, the Aymara Peoples, a large South American group Indigenous to the Altiplano, referred to the past as nayrapacha and nayra. The act of walking is indeed something quite courageous and could be held to the highest esteem of human endeavor. In fact, the Aymara referred to walking as quipnayr uñtasis sarnaqapxañani, an aphorism that declares the Homosapien urge to continuously transition through the present, while lightly observing peripheral view of the future-past. Thus, a participating in an eternal juggling act of carrying the future on one’s back all the while keeping the past in sight. This scared Aymara perception of walking can easily be interpreted as a metaphor for life.
Reclaiming Roots includes a collection of twelve plants indigenous to the United States that have been utilized within Native American communities for ceremonial, trade, and architectural purposes. Madeline Sanders (Mvskoke & Mojave) and Shasta Hampton (White Mountain Apache) pioneered the collection and repatriation of eternally ephemeral data that have been orally disseminated within their communities since time immemorial to then transmute the products of roots that could blossom in modernity. The digital renderings of natural products reveal how sacred elements that are often overlooked can help views reconnect to green ways of living. Over 200 drugs that have been or still are listed in the Pharmacopeia of the United States or the National Formulary were first used by Indigenous peoples, but neither reference acknowledges this fact. Thus, the tremendous benefits we’ve derived from Indigenous knowledge of native plant medicines go largely uncredited. With this in mind, it is necessary to pay homage to those who came before us and paved the path for a better future. The artists wish to center and focus our project on the importance of sustainable environments, Indigenous knowledge, and reclaiming their roots. In the 1800s, as westward expansion exposed Americans of European descent to new landscapes as well as the inevitable injuries and illnesses, Indigenous people often provided the explorers and settlers with herbal medicines that proved crucial to their survival. Today, Indigenous plants are central to improving dietary health for current generations.
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