MINNEAPOLIS — Tiny beads the size of sand are arranged inside a gold-framed necklace amulet, forming a portrait of Pocahontas, the leader who symbolizes both the romanticization of Native American women and their erasure.
The delicate, wearable artwork by Keri Ataumbi (Kiowa/Comanche) and Jamie Okuma (Luiseño/Shoshone-Bannock) is one of 117 pieces on display in the revolutionary show “Hearts of Our People: Native Women Artists” at the Minneapolis Institute of Art. The exhibit is the first ever at a major institution to focus solely on the contributions of Native women artists, with a key aim of making them, and their accomplishments, visible.
The groundbreaking show includes 115 artists from the U.S. and Canada spanning more than 50 tribes, 65 languages and seven centuries. Its curation was Native-led and completely collaborative. Mia’s associate curator of Native Art, Jill Ahlberg Yohe
While the show is premised on the idea of bringing visibility to Native women’s artworks, the very idea of a Native women’s exhibition in an art museum, a symbol of colonialism,
Making what is now called “art” is “really our identities as Native people,” Greeves said in opening-day remarks. “We are very grateful that (our work) has arrived in a fine art museum to be recognized in this manner by your paradigm,” she said. “The exhibition in this sense recognizes how Native women are a part of the entirety of American art history.”
Pairing the past and present
One of the show’s strongest aspects is how it pairs contemporary artists alongside past makers. This brings out both the cultural importance of Native women being the ones who pass on the knowledge of making, and the ways that women’s ancestors are always present, whether they are living or deceased.
In acknowledgment of a painful history, medicine stations are set up throughout the exhibit to allow Native visitors to hold medicine or offer prayers with tobacco as a way to work through and continue healing from trauma.
Collaboration is another powerful component on display. “Give Away Horses” (2006), by the mother-daughter-granddaughter cohort known as Growing Thunder
The photograph “Kaa” is a collaboration between photographer Cara Romero
While such large and arresting works and pairings shed light on the importance of lineage, at times it is easy to miss out on some of the smaller, subtler artworks in this exhibition.
I almost walked past “The Old Arrow Maker,” a 1872 sculpture by Edmonia Lewis
Despite the challenges of organizing so many objects, the team pulls off this exhibition beautifully. It is worth spending several hours with these works — not only to experience their delights large and small, but also to be immersed in a way of creating, making and being that is outside Western ideas of “art.” At Mia, Native women’s work that was once unsung has been brought to light.
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