PUAM focuses on Native Americans | A&E






The Art on Hulfish gallery at the Princeton University Art Museum is exhibiting “Native America: In Translation” until April 24. Image courtesy of the Aperture Foundation.


“Native America: In Translation” is the newest exhibit in the Princeton University Art Museum’s satellite exhibition space, Art on Hulfish, located in a former clothing store at 11 Hulfish Street in downtown Princeton.

A quick step and a right turn brings it up to the introductory panel of the nine-artist exhibition curated by Wendy Red Star.

Star, 41, is an artist raised on the Apsaaloke, Montana reservation whose work, we learn, “is influenced by both her Native American cultural heritage and her engagement in many forms of creative expression, including photography, sculpture, video, textile arts, and performance.

The panel goes on to explain that the participating artists are “from all over what is now called North America – representing various nations and Indigenous affiliations – (and) offer diverse visions, drawing on stories of creation pictures”.

Additionally, some of the featured artists are propelled by a sense of “indigenous outrage” or “a demand to heed eviction from ancestral lands – while others convey (varied) gender and language inflections, as well as the impacts of climate change, in inventive performance-based imagery or in investigations of personal and public archives.

The exhibition was organized by the Aperture Foundation, New York. The non-profit organization was founded in 1952 to connect the photography community and its public with “the most inspiring work, the sharpest ideas, and with each other – in print, in person, and online.”

The Princeton exhibit also has its roots in “Native America” ​​in the foundation’s Fall 2020 Aperture magazine, a special issue on photography and Native life, published by Star. The issue was part of an ongoing series exploring the perceptions of various populations, including Latinos and African Americans.

One way to enter the exhibit is simply to move to the left of the introductory panel where there is a series of enlarged Polaroid images of water and the hands of the late Cree artist Kimowan Metchewais (1963 – 2011).

The accompanying panel refers to him as a sculptor of flat, rectangular objects and credits him with creating works of “paper walls” of “pasted photos, with scratches, creases, and visible tape ties. , [that] have a soft, dreamlike quality that sets them apart from digital photography and ethnography, conventions imposed by others to analyze “self-taught Indigenous imagery” that challenges the authority of fixed representation. »

One of his most important images is a set of hand signals that, even when still, catch the eye and interrupt the mind to engage.

Then, quickly to the left, Omaskeko Ininwak artist Duane Linklater, born in 1976 and living in Northern Ontario, occupies the remaining wall to display an extension of a work he originally created for two issues of Aperture. The idea-driven piece uses lines drawn on the scanned pages of mostly black-and-white images and text found in these issues as part of a “continuation of the long tradition of the Indigenous artist mapping beadwork and spiciness, allowing him to delimit the scale and rhythm of his own practice and to be part of an artistic lineage.

On the other side of the panel is a standing wall featuring three works by Guadalupe Maravilla.

Here, the Salvadoran painter, sculptor and choreographer, born in 1976, uses altarpieces, small framed Mexican and Central American devotional works, to create personal and mythological visual narratives. Our ancestors were talking about creating mythologies, and I connected to that,” he says in a text.

The three multimedia works presented, all created in 2021 – “Motorpsycho Retablo”, “I crossed the Retablo border” and “The performance at the center of the Retablo world” – use cartoon-like images and explanatory text painted on pewter which is fixed on wood and framed with a mixture of glue and cotton.

Eye-catching with color and exaggeration, the text of the artwork with the performance references evokes the attitude in front of the artist by linking the image to a real Times Square performance in 2021 featuring “a choreography with 15 break dancers, a golden lowrider car with hydraulics and sound” and the artist playing the role of ghetto blaster.

The walls of this first area of ​​the station easily guide visitors to the next section which features the work of photographer Koyolzinth, the name borrowed from Ecuadorian artist Karen Miranda-Rivadeneira.

The series of large black and white images depict the myth of a ‘two-million-year-old woman – known today by various names including Sky Woman’ and ‘tells of the Sky Woman’s fall into the ocean earthly”.

The artist, a descendant of the Manta peoples of Ecuador’s coast, uses myths to document endangered indigenous oral traditions, linking origin stories to Zaparo, a language of Ecuador today spoken by only a handful of people . “Here, the gray-toned documentary images suggest a mediation of how the female human body and clay terrain juxtapose and connect.







Michelson -- Student Visitor series.jpg

A visitor studies Alan Michelson’s series based on Jean-Antoine Houdon’s bust of George Washington.


Alan Michelson’s “Hanodaga:yas” and “Pehin Hanska ktepi” are dramatically displayed in the next room – a dark area formed by panels and the back wall of the building.

The previous work, translated by Town Destroyer, consists of six illuminated photo images of the bust of George Washington by French sculptor Jean-Antoine Houdon, colored by projections including maps and text.

A Mohawk member of the Six Nations of the Grand River, Michelson says via text that he wants to “overcome American amnesia and denial” by using an “archive against itself, to challenge the colonial narratives it customarily serves.”

Additionally, he notes, “In 2018, the approaching 240th anniversary of Washington’s destruction of the Iroquoia in 1779 – our vast homelands in which New York State now sits – prompted me to get a life-size replica of a bust and project archival footage onto it to tell the story of the invasion and forced eviction.Imagery includes historical maps and historical markers of New State York which seem to be celebrating the genocide.

The other work, translated as “they killed the long hair”, is a continuous loop of film projected across the darkened room onto a commercial cover screen. The film features the actual Native American victors of Custer’s Last Stand participating in the 1926 parade commemorating the 50th anniversary of the conflict.

Returning to the front of the building and past the images of Koyolzinth land, the viewer encounters several images of photographer and performance artist Rebecca Belmore, a member of the Lac Seul Anishinaabe First Nation.

According to the signage, the 1960-born artist “probed the politics of First Nations representations in Canada to analyze the pain of state violence against Indigenous peoples.”

Here, however, she creates large, seemingly conventional photographic images depicting what the curator says are “powerful scenes of grace” that “expand the fields of conceptual photography in images that feature organic materials, such as clay or fabric, or place subjects in strange contortions. from the body.”

The opposite side of the panel features the conventionally edgy photographic work of 33-year-old Martine Gutierrez.

Described as “a trans artist of Mayan descent,” Star says the artist “mobilizes the concept of indigeneity to question the birthplace origins of gender: what makes a ‘native born’ woman? Here, Indigeneity becomes a way of contemplating gender, legacy and storytelling.

The large, bright, finely executed images depict the photographer as various figures wearing Indigenous textiles, some of which, we learn, are from her grandmother.

The tone changes abruptly with the adjacent panel of Jacqueline Cleveland’s work.

Born in 1979, Cleveland is an Alaskan native of Yup’ik descent, a photographer and documentary filmmaker, and a resident of the coastal village of Quinhagak.

Although there are only four of her photos, of community members at home or with the landscape, Cleveland says her work reflects people’s seasonal rituals and the transfer of traditional knowledge, particularly the use Plant. “My audience is the people of the villages that I photograph and the ethno-botanical students. I identify as a subsistence hunter-fisher-gatherer. (This includes foraging, first and foremost),” she said in a statement.

Arrived at the last station, visitors discover the work of Marianne Nicholson, 1969, a member of the Dzawada’enuxw of the Kwakwaka’wakw peoples of the First Nations community of Kingcome Inlet in British Columbia. Canada,

Using an enlarged pre-digital photography film contact sheet, Nicholson presents “images to tell stories about community, images of capitalism and the ongoing tension felt by Indigenous peoples around the world in relation with settler colonialism. This includes images suggesting modern changes that have affected fishing and fish migrations.

While one could ask for more elaboration on this last topic – as well as a deeper exploration of each artist’s work and culture – the exhibition’s quick-read magazine feel is one that resonates. But, in this case, the reading is through a gateway on Hulfish Street – and a gallery which is a welcome addition to the cultural life of the area.

Native America: In Translation, Art on Hulfish, 11 Hulfish Street, Princeton. Until April 24. Monday to Wednesday, 10 a.m. to 6 p.m.; Thursday and Friday, 10 a.m. to 8:30 p.m.; Saturday, 10 a.m. to 6 p.m.; and Sunday noon to 5 p.m. Free. artmuseum.princeton.edu/arthulfish.

Nohemi M. Moore