Native American Art FINAL

Fred Kabotie (Hopi); Young Men’s Spring Ceremony; Hopi; c.1920-1921, watercolor on paper

David Bradley (Anishinaabe) Land o’ Fakes, Land o’ Bucks, Land o’ Lakes, 2006, sculpture

Norman Akers (Osage), Drowning Elk, oil on canvas, 2020

Norman Akers (Osage), Alien Onslaught, monoprint, 2020

Patrick DesJarlait (Anishinaabe), Maple Sugar Time (1946), watercolor on paper

George Morrison (Anishinaabe), Lake Superior Landscape (1981) acrylic on canvas

Oscar Howe (Yanktonai Sioux), Umine Wacipi:  War and Peace Dance, 1958, oil on canvas

Norval Morrisseau (Anishinaabe), The Gift, 1975, acrylic on paper

Shelley Niro (Mohawk), Iroquois is a Very Highly Developed Matriarchal Society, 1991, hand-tinted photograph 

Richard Ray Whitman (Yuchi-Muscogee), From the “Street Chiefs” series, 1970s-80s, black and white photograph

T.C. Cannon (Kiowa), Collector no. 5, Woodcut, 1980

Gerald McMaster (Siksika), Cultural Amnesty (detail of the installation Savage Graces), 1992

Kent Monkman (Cree), Trappers of Men, 2006, acrylic on canvas

Lloyd Kiva New (Cherokee) and Charles Loloma (Hopi) collaborations shown on “Kiva bags” from 1960s

Kay Walkingstick (Cherokee), Chief Joseph Series, 1975–77, acrylic & wax on canvas, 20”h x 15”w each

Alex Janvier (Dene), Colony of Alberta, painting, 1980

Alex Janvier’s (Dene) painting The Unpredictable East (Beaver Crossing, on the exterior of the Indians of Canada Pavilion at Expo 67. 

Jaune Quick-to-See Smith (Salish), Trade (Gifts for Trading Land with White People), 1992, Oil and mixed media, Collage, Objects, Canvas 

James Luna (Luiseño), The Artifact Piece, 1987, performance

James Luna (Luiseño). “Chapel for Pablo Tac.” Installation and Video.

Rebecca Belmore (Anishinaabe), Ayum-ee-aawach Oomama-mowan:
Speaking to Their Mother, beginning 1991, Sound installation - wood, megaphone

Nicholas Galanin (Tlingit), Tsu Héidei Shugaxtutaan, mixed media, 2006

Alan Michelson (Mohawk).  Third Bank of the River.  2009.  Digital Montage.  Permanently Installed at the Land Port of Entry in Massena, NY.

Gail Tremblay, Mi’kmaq and Onondaga ancestry, Strawberry and Chocolate, 2000, 16mm film

Truman Lowe (Hochunk), Feather Canoe, 1992, wood, feathers

Nora Naranjo-Morse (Santa Clara), Pearlene, 1987, ceramic

Roxanne Swentzell (Santa Clara), The Things I have to do to Maintain Myself, 1994, ceramic

Rose B. Simpson (Santa Clara Pueblo), “Maria,” (medium): 1985 Chevy El Camino, 2014

Nadia Myre (Algonquin) Indian Act, seed beads, stroud cloth, thread, “Indian Act, 1985”, 1999

Jeffrey Gibson (Cherokee). Found vinyl punching bag, glass and plastic beads, artificial sinew, brass and steel studs, wool military blanket, acrylic yarn, steel chain

Melissa Cody (Diné), Landscapes of Home, 2023, Jacquard wool tapestry, fringe,  aniline dyed wool

Jamie Okuma (Luiseño/Shoshone-Bannock) Adaptation II, 2012, Shoes designed by Christian Louboutin, Leather, glass beads, Porcupine quills, Sterling silver cones, brass sequins, chicken feathers, cloth, deer rawhide, buckskin

Douglas Miles and the A Team (Apache), Apache Skateboards, early 2000s

Rebecca Belmore (Objiwe), The Named and the Unnamed, 2002, video of performance Vigil

Nadia Myre (Algonquin),The Scar Project, Third Space Gallery, Saint John, 2006

Walking with our sisters on display at the Shingwauk Residential Schools Centre at Algoma University, May 2014, Crowd-sourced project organized by Christi Belcourt (Métis)

Brian Jungen (Dune-Zaa and Swiss) Shapeshifter, 2000

Jolene Rickard Tuscarora, with Haudenosaunee women Anita Ferguson, Janice Smith, Mary Annette Clause, Judy Judware, and Anita Greene

… the sky is darkening …, 2019
infused the dye on aluminum and fabric and beaded birds

Will Wilson (Dine), “Auto Immune Response #5.” 2004, archival inkjet print, collection of the artist, 112 × 1277 cm

Cara Romero (Chemehuevi), Water Memory, Ink Jet Print, 2015