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Without Boundaries V I S U A L C O N V E R S AT I O N S

Without Boundaries V I S U A L C O N V E R S AT I O N S

The Anchorage Museums Curated Conversations program seeks to raise awareness and build greater understanding of issues important to Alaska that also have global impact. Through conversations, we hope

Without Boundaries Visual Conversations in the absence of outside a line that marks the limits of an area a dividing line boundary without of or relating to seeing or sight a picture, piece of film,

Indigenous people face environmental, social, economic and political challenges every day. These are not new problems, though they are compounded by outside interests, which can exploit natural resour

top Awareness 2 bottom 2010 Digital Photograph Photographs courtesy of the artist Idle No More 2011 Digital Photograph WITHOUT BOUNDARIES VISUAL CONVERSATIONS 6

Barry Pottle Awareness 2 is part of a larger series of photographs called The Awareness Series. The series was part of the exhibition Decolonize Me, which featured a series of nineteen photographs sp

The Smile 2016 Multimedia installation Photograph courtesy of the artist WITHOUT BOUNDARIES VISUAL CONVERSATIONS 8

Charlene Teters Native people everywhere, especially on the front lines of our struggles, remind America and the world that we are still here. Here in our homeland, our very presence often challenges

Dead Indian Stories 20122014 Ink on rag paper Photograph courtesy of the artist WITHOUT BOUNDARIES VISUAL CONVERSATIONS 10

Edgar Heap of Birds America and the world must remember that forever the U.S. Statue of Liberty literally has her back turned to all Native Americans and their sovereign nations. The welcoming freedo

Niicugni Lantern Map 2013 Ink drawing on paper Niicugni Designed by Max Wirsing 2012 Fish skin lantern from a dance installation of performance and story Photograph courtesy of the artist WITHOUT

Emily Johnson Niicugni is many things. It is a dance. It is a story made of many. It is a word that instructs us to listen. There is hope here, and death monsters and laughter salmon, bear, blood, an

James Pollock 2016 Digital photograph, cowhide, paint can and paint brush Photograph courtesy of Nico Ricoy WITHOUT BOUNDARIES VISUAL CONVERSATIONS 14

James Luna We all know, but might not all agree, that Jackson Pollock was a giant figure in the Abstract Expressionism movement in postWorld War II American history. For me, as a beginning artist in

Nuilarmiut Takisuut Beadwork Dress 2012 Glass beads, cotton and polyester thread, cotton lining, and sheep fur trim Photograph courtesy of the artist WITHOUT BOUNDARIES VISUAL CONVERSATIONS 16

Jessie Kleemann The body of work that comes from the hand is no less than a piece of performance. The piece itself could be an image of perfection. Through my attempts to approach a work of art that

Gaaw Kooteyaa 2 2014 Wood, rawhide, and acrylic paint WITHOUT BOUNDARIES VISUAL CONVERSATIONS 18

Dakaxeen Mehner This work is one of three sets of drums that are connected with the formline that moves from one drum to another, one group to the other. At the heart of the work is an expression of

Native Hosts 2016 Mylar on aluminum Photograph courtesy of the artist WITHOUT BOUNDARIES VISUAL CONVERSATIONS 20

Edgar Heap of Birds The Native Hosts project is an ongoing series of public art interventions that have been deployed throughout the US and Canada for nearly thirty years. These expressions of honori

Unexpected Gift 2015 Arches watercolor paper splints printed with archival inks, acrylic paint Photograph courtesy of the artist WITHOUT BOUNDARIES VISUAL CONVERSATIONS 22

Shan Goshorn Boarding schools are often viewed as a crushing detriment to Native culture, i.e. the removal of children from loving homes to be assimilated into white society. However, I also see a po

Wake Me from the American Dream 2016 Twochannel projection with sound 7 minutes Photograph courtesy of the artist WITHOUT BOUNDARIES VISUAL CONVERSATIONS 24

Nicholas Galanin A survey of consumption and the eternal void of our own agency when our Indigenous community is completely removed as genocide intends. In one audio clip, a nonIndigenous scholar who

Xant xwaank tll eeshk Dleit Yil White Raven Ceremonial 2010 Digital Photograph Photograph courtesy of the artist WITHOUT BOUNDARIES VISUAL CONVERSATIONS 26

Larry McNeil It doesnt take a genius to see that fossil fuels are destroying our planet. There will always be the climate change deniers, too, though. We can easily predict that the president of any

Artist Biographies Barry Pottle Barry Pottle is an Inuk photographer from Nunatsiavut in Labrador Rigolet. Now living in Ottawa which has the largest urban population of Inuit outside the North, Pott

James Luna James Luna is a Pooyukitchm LuisenoIpi Diegueno and Mexican American performance artist and multimedia installation artist, living on the La Jolla Indian Reservation in California. He desc

Jessie Kleemann Jessie Kleemann is a performance artist and poet who was born in Upernavik, Greenland. She was trained as a printmaker in Nuuk, Greenland and as an actor at the Tuukaq Theatre in Denm

Dakaxeen Mehner Dakaxeen Mehner TlingitNishga uses the tools of family ancestry and personal history to create his artwork. Born in Fairbanks, Alaska, to a TlingitNishga mother and HippieAmerican fat

On the Commodification of Native Culture Candice Hopkins, Citizen of CarcrossTagish First Nation In thinking about this essay on the commodification of culture, I keep asking myself the same question

places like Chelsea or at the Venice Biennale or Kassel or Basel, who are written about in journals like Artforum. Their work is said to be critically acclaimed and commercially successful, or it will

in California, became an artifact and lived out his final days in a museum. Ishii became the vanishing Indian, a figure in which nonNative audiences could feign sadness for the loss of Native peoples,

production as well. Not only did he turn Indian, he also claimed that he was better at it than Native people themselves By this gesture, one can deduce that you are not born into culture, it is learne

engaged in the production of multiples smallscale model poles in argillite, along with pipes, human and animal figures, and so on. These carvers consciously differentiated between the real thing and i

order to justify his return missions to these new lands. Those who didnt find enough of the metal lost a nose or a hand. This extreme corporeal punishment wasnt only doled out to the adults, there is

many bloody red skins of Native people they could gather. For many Native peoples, to hear this term, to see it emblazoned on the headlines of newspapers and spoken on television, is a continual reite

Art historian Sherry Farrell Racette relayed recently that ignorance is vigorously protected and defended, and that is is credulous to think that the purveyors of misinformation will change their view

monetary value they have in this world and makes them real.3 A testament to the power of reinvesting these beings with a value other than money. 1 Paul Chaat Smith, Money Changes Everything Washingto

Dialectic Dialoguing Representing an Indigenous AvantGarde in the Museum Mario A. Caro Most museums develop their educational programming as a means of contextualizing their exhibitions. Talks by art

the artists spoke to address wider concerns shared by many avantgarde Indigenous artists working with museums today. Acknowledging the Denaina It is important to note that the format of our discussio

humanistic impulses of their projects, on the gathering of knowledge and the material culture that come to eventually reside in the museum. It was refreshing to see the frankness with which the Anchor

body and space requires a consideration of an additional dimension, an acknowledgment of timea history of how bodies in certain spaces become significant. And this temporal dimension inculcates not on

This performance is often categorized as an exemplary form of institutional critique, an art genre defined by its oppositional stance to institutions such as the museum. While this category is often d

The idea, of course, is to have nonNative viewers fully consider the many implications of inhabiting an identity that they may only know through romantic stereotypes. This move beyond simply sympathiz

As she orchestrates these opportunities to gather, participants engage each other and more closely examine their relationships to their environment in a very conscious interaction between bodies and s

One of the things Ive been thinking about is what are the kids born in like 2050 going to think about us What are they going to think of why we left the world in the condition that its going to be in

On Decolonization After our panel discussion, many additional issues were raised by our audience. Some questions brought us back to some terminology we had used in describing contemporary Indigenous

myself that everything I do and every way I think and how I process information, Im Iupiaq. Luna related how he had come to deal with his identity as an artist and as Native We represent something mor

was explored by the Denaina people thousands and thousands of years before, so in that context, Captain Cook came here just a moment ago. 1 The term avantgarde is often used to define approaches that

5 To date Shore has been performed in Minneapolis, New York City, San Francisco, Seattle, and Homer. For a detialed overview, see httpwww.catalystdance.comshore 6 For a history of photographys contr

Necessary Conversations Kathleen AshMilby The representation of Native art and culture in museums is complicated. It used to be simple. Outsiders, be they collectors, observers, scientists or the mer

or symposium, you know that some of the best moments arent in the lecture hall, but in the hallways. Those intense conversations with colleagues might be inspired by something experienced together or

The voice of the artist adds a new dimension to any conversation. They are necessary because artists throughout history have always given voice to what cannot be spoken. As James Luna stated, as artis

ground holding us up. Her work is provoking different ways of trying to pay attention to all of the creatures and humans that are herepast, present and future. Johnson uses her art to position us, all

This project is supported in part by an award from the National Endowment for the Arts

Cover by photo James Luna, James Pollack, 2016. Photo courtesy of Nico Ricoy.

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