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45 episodes with cannupa hanska luger
This special episode of MC was recently taped before a live audience at Philbrook Museum of Art. Our host Jeff Martin is joined by on stage by interdisciplinary artist Cannupa Hanska Luger, Brooklyn Museum curator Kimberli Gant, and Philbrook Chief Curator Kate Green. They speak in detail about why and how today's museums are diversifying (or attempting to diversify) their collections. Presented in partnership with Tulsa Town Hall.
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In this episode of Broken Boxes recurring host Cannupa Hanska Luger gets into conversation with Oglala Lakota artist Mato Wayuhi who works in both film and TV as an actor, producer and musical composer, as well as writing his own music. Mato reflects on how he first came to music as an artistic outlet and his creative inspirations and challenges as a young person honing his craft. We hear about Mato's dense and varied approach to realizing a creative vision from filming music videos, to cross discipline collaboration with other artists to activating his family's archived tapes on his recordings. Mato speaks about being the composer for the award-winning FX/Hulu series Reservation Dogs, what impact that project has had on his relationship with his music and acting and how it has built lifelong friendships. Mato also gives a vulnerable and deep dive behind the making of his new album, STANKFACE STANDING SOLDIER, reflecting on the grief and healing that took place through the process of putting together this layered, timely and entirely self-produced record. + Featured song: STANKFACE (feat. A$h Da Hunter) from STANKFACE STANDING SOLDIER by Mato Wayuhi +++ Mato Wayuhi is an Oglala Lakota artist originally from South Dakota. He works in film/TV both as an actor, producer and musical composer, as well as writing his own music. Most notably, Mato is the composer for the award-winning FX/Hulu series Reservation Dogs. He is also featured on the 2023 Forbes 30 Under 30 list for Hollywood & Entertainment. His most recent album STANKFACE STANDING SOLDIER is an entirely self-produced record, which Forbes calls a "masterpiece that revolutionizes Indigenous music into a new era."
Embark on an enthralling expedition through the ever-evolving world of Native American art with our esteemed guest, Cannupa Hanska Luger. A Mandan, Hidatsa, Arikara artist whose creative roots were nurtured by his mother, Kathy Whitman Elk Woman, Cannupa guides us from the spoken cadences of poetry to the earthy intimacy of clay. His artistic odyssey is a testament to the power of medium exploration, as he shares how live painting with a hip-hop band and a transformative education at the Institute of American Indian Arts expanded his palette from the canvas to the captivating realm of sculpture.Cannupa's narrative arcs into the collaborative spirit of art, as he recalls the Mirror Shield project at Standing Rock—a pivotal moment that crystallized his understanding of art's social impact and the myth of solitary creation. He unwraps the layers of his journey with the Santa Fe art collective Humble, drawing us into a discourse on the synergy between individual creativity and collective expression. Through the lens of social media and material consciousness, Cannupa challenges us to reconsider our approach to the artistic process and the inherent collaboration it entails.As we traverse the intersecting pathways of art, science, and identity, Cannupa offers a profound reflection on how cultural heritage weaves through his work, disputing the oversimplification of cultural identity. Our conversation ventures into his engagement with Monument Lab and the University of Michigan Museum of Art, contemplating the narratives and contemporary relevance of monuments. Cannupa's "sovereignty suits" project from the Hammers exhibition "Breathe" and his upcoming installation at the San Diego New Children's Museum invite listeners to explore how art and science converge to ignite imagination and challenge our perceptions of learning and identity. Join us for an episode that not only showcases the multifaceted brilliance of Native American artistry but also the indelible impact of creative expression on shaping our collective future.
En esta ocasión les quiero hablar de una exposición que se inaugurará el 18 de abril titulada The Land Carries Our Ancestors: Contemporary Art by Native Americans en el New Britain Museum of Art y estará hasta el 12 de septiembre de este año 2024. Es importante destacar que esta exposición se presentó en el National Gallery of Art, en Washington, D.C. La exposición esta curada por la artista, educadora, editora, activista, y escritora Jaune Quick-to-See Smith quien es ciudadana de la confederación Salish y Kootenai Nation. Esta exposición nos da la oportunidad de ver el trabajo artístico de 50 artistas Native American / o Indígena Americanos contemporáneos en donde se podrá observar las diferentes técnicas y estilos que incluyen desde esculturas, instalaciones, fotografías, y hasta tejidos entre otros. Estos artistas nos presentan su interpretación y conocimiento, su visión, su conexión y relación con la tierra. También es importante destacar la participación del artista Cannupa Hanska Luger con su instalación titulada Mirror Shield Project. Este Proyecto fue iniciado en el 2016 en respuesta y apoyo a Standing Rock Sioux Tribe Recervation que estaban bajo amenaza por el Dakota Access Pipeline. El al igual que la artista y curadora de esta exposición comparten la ideología de deconstruir el estereotipo que encajonar a los artistas Nativos Americanos a que solo producen un tipo de arte. Cannupa Hanska visualiza el arte como un proceso, algo vivo, como un conductor que se utiliza para compartir información de una cultura a cultura. Esta exposición estará acompañada por una extraordinaria programación de eventos y conversatorios. Para más información visite la página: https://holyokemedia.org/the-land-carries-our-ancestors/ a.
The Nevada Museum of Art invited us out for a live show in Reno with acclaimed indigenous artist Cannupa Hanska Luger. Futurism and speculative fiction are just two of many terms that describe Luger's unforgettable work and the special exhibition, SPEECHLESS. On this episode we chat with Luger and Apsara DiQuinzio, the Museum's Senior Curator of Contemporary Art.
This episode marks the second time featuring artist and friend Raven Chacon on Broken Boxes. The first time I interviewed Raven was in 2017, when I visited with him at the Institute of American Indian Arts where he was participating in a symposium on Indigenous performance titled, Decolonial Gestures. This time around, we met up with Raven at his home in Albuquerque, NM where recurring host and artist Cannupa Hanska Luger chatted with Raven for this episode. The conversation reflects on the arc of Ravens practice over the past decade, along with the various projects they have been able to work on together, including Sweet Land (2020), an award-winning, multi-perspectival and site-specific opera staged at the State Historical Park in downtown Los Angeles, for which Raven was composer and Cannupa co-director and costume designer. Raven and Cannupa also reflect on their time together traveling up to Oceti Sakowin camp in support of the water protectors during the resistance of the Dakota Access Pipeline. Raven provides context to his composition Storm Pattern, which was a response to being onsite at Standing Rock, and the artists speak to the long term impact of an Indigenous solidarity gathering of that magnitude. Raven speaks about being named the first Native American composer to win the Pulitzer Prize or Voiceless Mass, and shares the composition's intention and performance trajectory. To end the conversation, Raven shares insight around staying grounded while navigating the pressures of success, travel and touring as a practicing artist, and reminds us to find ways to slow down and do what matters to you first, creatively, wherever possible. Raven Chacon is a Pulitzer Prize-winning composer, performer, and installation artist from Fort Defiance, Navajo Nation. As a solo artist, Chacon has exhibited, performed, or had works performed at LACMA, The Renaissance Society, San Francisco Electronic Music Festival, REDCAT, Vancouver Art Gallery, Haus der Kulturen der Welt, Borealis Festival, SITE Santa Fe, Chaco Canyon, Ende Tymes Festival, and The Kennedy Center. As a member of Postcommodity from 2009 to 2018, he co-created artworks presented at the Whitney Biennial, documenta 14, Carnegie International 57, as well as the two-mile-long land art installation Repellent Fence. A recording artist whose work has spanned twenty-two years, Chacon has appeared on more than eighty releases on various national and international labels. His 2020 Manifest Destiny opera Sweet Land, co-composed with Du Yun, received critical acclaim from the Los Angeles Times, the New York Times, and The New Yorker, and was named 2021 Opera of the Year by the Music Critics Association of North America. Since 2004, he has mentored over 300 high school Native composers in the writing of new string quartets for the Native American Composer Apprenticeship Project (NACAP). Chacon is the recipient of the United States Artists fellowship in Music, The Creative Capital award in Visual Arts, The Native Arts and Cultures Foundation artist fellowship, the American Academy's Berlin Prize for Music Composition, the Bemis Center's Ree Kaneko Award, the Foundation for Contemporary Arts Grants to Artists Award (2022) and the Pew Fellow-in-Residence (2022). His solo artworks are in the collectIons of the Whitney Museum of American Art, the Smithsonian's American Art Museum and National Museum of the American Indian, Los Angeles County Museum of Art, Getty Research Institute, the Albuquerque Museum, University of New Mexico Art Museum, and various private collections. Music Featured: Sweet Land, Scene 1: Introduction (feat. Du Yun & Raven Chacon) · Jehnean Washington · Carmina Escobar · Micaela Tobin · Du Yun · Raven Chacon · Lewis Pesacov. Released on 2021-09-24 by The Industry Productions
This very special episode of Broken Boxes Podcast marked our first ever conversation in front of a live studio audience. Recurring host Cannupa Hanska Luger was joined by Matika Wilbur and Andrea Carlon on October 28th 2023 as part of the University of Michigan Museum of Art's Memory & Monuments program. The artist's drew from a hat of pre-considered topics to speak to and expand upon, including: Ancestral trade routes or sharing knowledge within a cultural continuum such as how culture, language and goods traveled precontact; Indigenous memory in relation to the American Myth; Recognition of Indigenous complexity; Indigenous futures including shared histories and futures; and Institutional critique or a generative airing of problematic power structures impact on Native people. Broken Boxes would like to thank UMMA staff and curators and Monument Lab for being present for this generative and complex conversation to take place. We would like to especially thank the students of the Native American Student Association at the University of Michigan, who welcomed Broken Boxes and the artists and helped make this live audience recording a wonderful experience. More about the artists: Matika Wilbur (Swinomish and Tulalip) is one of the nation's leading photographers, based in the Pacific Northwest. She earned her BFA from Brooks Institute of Photography where she double majored in Advertising and Digital Imaging. Her most recent endeavor, Project 562, has brought Matika to over 300 tribal nations dispersed throughout 40 U.S. states where she has taken thousands of portraits, and collected hundreds of contemporary narratives from the breadth of Indian Country all in the pursuit of one goal: To Change The Way We See Native America. Andrea Carlson is a visual artist who maintains a studio practice in northern Minnesota. Carlson works primarily on paper, creating painted and drawn surfaces with many mediums. Her work addresses land and institutional spaces, decolonization narratives, and assimilation metaphors in film. Her work has been acquired by institutions such as the Whitney Museum of American Art, The Walker Art Center, the Museum of Contemporary Art in Chicago, the Denver Art Museum, the Minneapolis Institute of Art, and the National Gallery of Canada. Carlson was a recipient of a 2008 McKnight Fellow, a 2017 Joan Mitchell Foundation Painters and Sculptors award, a 2021 Chicago Artadia Award, and a 2022 United States Artists Fellowship. Carlson is a co-founder of the Center for Native Futures in Chicago. Multidisciplinary artist Cannupa Hanska Luger is an enrolled member of the Three Affiliated Tribes of Fort Berthold (Mandan, Hidatsa, Arikara), and Lakota. Through monumental installations and social collaborations that reflect a deep engagement and respect for materials, the environment, and community, Luger activates speculative fiction and communicates stories about 21st century Indigeneity. Luger is a 2022 Guggenheim fellow, recipient of the 2021 United States Artists Fellowship Award for Craft, and was named a Grist 50 Fixer for 2021, a list that includes emerging leaders in climate, sustainability, and equity from across the nation. Music featured: Move, I'm Indigenous by Uyarakq BBP intro track by India Sky
Long Con is a series of conversations between Director Sterlin Harjo and Artist Cannupa Hanska Luger about life, art, film, history and everything in between - informally shared from the lens of two contemporary Native American artists and friends actively participating in the record of the 21st century.This is the sixth episode of the Long Con series and was recorded live in person on Cannupa Hanska Luger and Ginger Dunnill's back porch in Glorieta, NM in the Fall of 2023.Sterlin Harjo is an award winning Seminole/Muscogee Creek filmmaker who has directed three feature films and a feature documentary all of which address the contemporary Native American lived experience. Harjo is a founding member of the five-member Native American comedy group, The 1491s. Sterlin's latest project Reservation Dogs, is a television show created in collaboration with Taika Waititi, now available to watch on FX.Cannupa Hanska Luger is a multidisciplinary artist creating monumental installations, sculpture and performance to communicate urgent stories of 21st Century Indigeneity. Born on the Standing Rock Reservation in North Dakota, Luger is an enrolled member of the Three Affiliated Tribes of Fort Berthold and is Mandan, Hidatsa, Arikara and Lakota. Luger's bold visual storytelling presents new ways of seeing our collective humanity while foregrounding an Indigenous worldview. Music featured: Snotty Nose Rez Kids - I Can't Remember My Name ft. Shanks Sioux Broken Boxes intro track by India Sky
For this episode of Broken Boxes I am joined by Monument Lab Director Paul Farber, University of Michigan Museum of Art Assistant Curator of Global Contemporary Art Ozi Uduma and artist Cannupa Hanska Luger. We gathered together in Ann Arbor Michigan in late September 2023 at the University of Michigan's Media Center during the opening week of the monumental project and accompanying exhibition by Luger titled, You're Welcome was developed over the course of two years between Cannupa, Monument Lab and the University of Michigan Museum of Art. This podcast conversation was a chance for the three creatives to speak vulnerably to the process of taking on such a large endeavor and how much care and energy goes into the creation of a project of this magnitude. We learn about the three primary components to the presentation including GIFT, an experimental, time-based, commissioned work by Luger on the front facade of UMMA's Alumni Memorial Hall which challenges institutional memory and the whitewashing of history. GIFT is accompanied by two indoor installations: Meat for the Beast in the museums Irving Stenn, Jr. Family Gallery, which delves into Luger's artistic practice and the relationship between museum collections and resource extraction; and Monument Lab: Public Classroom in the Art Gym, which examines formal and informal modes of memory. Moving through the conceptual application of this work, Paul, Ozi and Cannupa break down the larger themes of whiteness, language and time, and unpack the anchoring question of the project, How do we Remember?. The three offer their personal and professional reflections on implementing a project of this magnitude and it's unknown long term impact. And in speaking to GIFT and the larger constellation of exhibiting works, Paul reflects, “This is an art project that doesn't quite have a precedent. And that's the point. It has cousins and kin and points of inspiration and citation, but this work is actually seeking to do something that has never been done in this way.” Over all, You're Welcome explores the relationship between the Museum's historic building, the land it stands on, and a long history of colonial narratives deeply embedded in public structures. It supports critical dialogues about the responsibilities of public institutions as cultural history makers and stewards, and it is a key component of UMMA's ongoing efforts to challenge its history and practices to create an institution more reflective of its community and honest in its explorations of art, culture, and society. More about YOU'RE WELCOME: HOW DO WE REMEMBER? How do we remember on this campus? This is the central question asked in You're Welcome, a dynamic three-part exhibition. The result of a multiyear collaboration with artist Cannupa Hanska Luger and nonprofit public art and history studio Monument Lab, You're Welcome examines the foundational narratives of the land occupied by the University of Michigan and both national and global discourse on nationalism, land sovereignty, militarism, colonialism, and sites of memory. GIFT The centerpiece of the You're Welcome exhibition, Cannupa Hanska Luger's GIFT, is an experimental, time-based, commissioned work, responding to and challenging the University of Michigan's origin story and the stewardship of the land it occupies. In September 2023, Luger, a multidisciplinary artist and enrolled member of the Three Affiliated Tribes of Fort Berthold (Mandan, Hidatsa, Arikara and Lakota), painted the word “GIFT” in white porcelain clay slip on the columns of Alumni Memorial Hall, a neoclassical war memorial erected in 1910 that now houses UMMA. His point of departure is the 1817 Treaty of Fort Meigs, in which Ottawa, Chippewa, and Potawatomi tribes “gifted” land to the University that was then sold to found its endowments. MEAT FOR THE BEAST Meat for the Beast comprises two works by the multidisciplinary artist Cannupa Hanska Luger: This is Not a Snake and The One Who Checks and The One Who Balances. An enrolled member of the Three Affiliated Tribes of Fort Berthold (Mandan, Hidatsa, Arikara and Lakota), Luger was born and raised on the Standing Rock Indian Reservation. This is Not a Snake was created there, in the aftermath of the 2016 Dakota Access Pipeline protests. The “snake” is a serpentine monster made of riot gear, ceramics, fiber, steel, oil drums, concertina wire, ammunition cans, trash, beadwork, and other found objects. Interspersed within the creature's body are artworks from UMMA's collection selected by Luger and the exhibition's curators to reflect on the historical and contemporary destruction and extraction of land as an expendable resource. By positioning the “snake” as if it's ingesting objects from the museum's collection, Luger compares the damage done by extractive industries on Indigenous lands to that of museums, which have historically extracted objects and culture from Indigenous communities. MONUMENT LAB: PUBLIC CLASSROOM How do we remember on this campus? In addressing this central question of the exhibition You're Welcome, Monument Lab, a nonprofit public art and history studio, worked with lead artist Cannupa Hanska Luger, University of Michigan Museum of Art staff, and University students, staff, and faculty to gather hundreds of responses. Using 121 of these compiled responses as a starting point, this “classroom” acts as an exploration of memory itself—how we remember, the physical and ephemeral forms memories take, and how they come to constitute the campus itself. This classroom includes a broad range of ways we remember—instances of personal, collective, ancestral, speculative, and institutional approaches to memory. https://umma.umich.edu/exhibitions/2023/cannupa-hanska-luger-you-re-welcome Featured song: A Tribe Called Red Ft. Hellnback - The Peoples' Champ
Long Con is a series of conversations between Director Sterlin Harjo and Artist Cannupa Hanska Luger about life, art, film, history and everything in between - informally shared from the lens of two contemporary Native American artists and friends actively participating in the record of the 21st century. This episode is the fifth conversation between Harjo and Luger on Broken Boxes, and the artists dive right in, chatting about conspiracy theories, aliens, AI, Indigenous ceramic practices, the current state of the film industry and the writers strike, how creating sanctuary for producing big ideas is important and how everyone's creative process is different, so it's about finding what your groove is. They also speak about fatherhood, the importance of storytelling, and of course the final season of Reservation Dogs - Season 3 - which premieres August 2nd, just days after this episode airs. Sterlin shares why he decided to complete the series after three seasons and reflects on his adventures of being a showrunner for a production that has changed the face of television for Indigenous people, and how making this work has, in turn, changed him. I am excited to see what comes next for our dear friend Sterlin. Broken Boxes will continue to produce these long conversations between the two artists and also we are so excited for Sterlin's podcast The Cuts to activate again, please go listen to his podcast archive If you have not yet! Sterlin Harjo is an award winning Seminole/Muscogee Creek filmmaker who has directed three feature films and a feature documentary all of which address the contemporary Native American lived experience. Harjo is a founding member of the five-member Native American comedy group, The 1491s. Sterlin's latest project Reservation Dogs, is a television show created in collaboration with Taika Waititi, now available to watch on FX. Cannupa Hanska Luger is a multidisciplinary artist who creates monumental and situational installations and durational performance and often initiates community participation and social collaboration. Raised on the Standing Rock Reservation in North Dakota, he is an enrolled member of the Three Affiliated Tribes of Fort Berthold and is of Mandan, Hidatsa, Arikara and Lakota descent. Music featured: 25 and Wastin' Time by Vincent Neil Emerson Broken Boxes intro track by India Sky
In this episode of Broken Boxes we hear recurring host and artist Cannupa Hanska Luger in conversation with Cassils, a transgender artist who makes their own body the material and protagonist of their performances. Cassils's art contemplates the history(s) of LGBTQI+ violence, representation, struggle and survival. For Cassils, performance is a form of social sculpture: Drawing from the idea that bodies are formed in relation to forces of power and social expectations, Cassils's work investigates historical contexts to examine the present moment. In the conversation, Cassils speaks to recent and landmark projects including Monument Push, a multi pronged experiential work and reaction to Trans violence, and In Plain Sight, a national activation responding to policed migration and created in collaboration with dozens of artists across the nation. They speak to the larger ideas that shape their practice, including how their work explores the violence, resilience, strength and vulnerability of the body. They unpack the ethos behind their collaboration with other community members, how the audience becomes archive in their practice, and the importance of restructuring systems of care in large projects to actively dismantle the notion that those directly impacted should shoulder the burden alone. They see a desperate need to uplift complexity and productive disagreement to move us forward collectively and share how they exercise this communication model as an educator. Cassils reminds us of the potential of art, that within the space of making, our agency cannot be taken. Cassils ends the conversation reading an excerpt from a powerful essay by James Baldwin regarding the artist's responsibility to ”...drive to the heart of every answer and expose the question that the answer hides.” Cassils has had recent solo exhibitions at HOME Manchester, Station Museum of Contemporary Art, Perth Institute for Contemporary Arts, Ronald Feldman Fine Arts, NYC; Institute for Contemporary Art, AU; Philadelphia Academy of Fine Arts; Bemis Center, Omaha; MU Eindhoven, Netherlands.They are the recipient of the National Creation Fund, a 2020 Fleck Residency from the Banff Center for the Arts, a Princeton Lewis Artist Fellowship finalist, a Villa Bellagio Rockefeller Foundation Fellowship, a United States Artist Fellowship, a Guggenheim Fellowship and a Creative Capital Award. Cassils is an Associate Professor in Sculpture and Integrated Practices at PRATT Institute. Featured Song: Yoko Ono "Walking On Thin Ice" Dj's Transition Edit https://www.cassils.net
Long Con is a series of conversations between Director Sterlin Harjo and Artist Cannupa Hanska Luger about life, art, film, history and everything in between - informally shared from the lens of two contemporary Native American artists and friends actively participating in the record of the 21st century. In this almost 3 hour long episode and the fourth conversation between Harjo and Luger on Broken Boxes, the artists speak on hunting, vulnerability, taxes, land, fatherhood, facing becoming celebrity, growing up poor, fathers and their love language, the familiarity with relatives in prison, Reservation Dogs Season 2, Sterlin's uncle Marty's laugh, taking the time to call your friends and check in, Film Noir, Cannupa's hats, fashion, ghosts, the art world, normalizing therapy to control inner chaos, writing versus directing, confronting the darkness in life, alcohol consumption, the Gotham Awards, and artmaking and what part of the process brings the most joy and what is the hardest point in the creative journey. Sterlin Harjo is an award winning Seminole/Muscogee Creek filmmaker who has directed three feature films and a feature documentary all of which address the contemporary Native American lived experience. Harjo is a founding member of the five-member Native American comedy group, The 1491s. Sterlin's latest project Reservation Dogs, is a television show created in collaboration with Taika Waititi, now available to watch on FX. Cannupa Hanska Luger is a multidisciplinary artist who creates monumental and situational installations and durational performance and often initiates community participation and social collaboration. Raised on the Standing Rock Reservation in North Dakota, he is an enrolled member of the Three Affiliated Tribes of Fort Berthold and is of Mandan, Hidatsa, Arikara and Lakota descent. Featured Song: Can't Wait by Labrys
Guadalupe Maravilla is a transdisciplinary visual artist, choreographer, and healer. At the age of eight, Maravilla was part of the first wave of unaccompanied, undocumented children to arrive at the United States border in the 1980s as a result of the Salvadoran Civil War. In 2016, Maravilla became a U.S. citizen and adopted the name Guadalupe Maravilla in solidarity with his undocumented father, who uses Maravilla as his last name. As an acknowledgment to his past, Maravilla grounds his practice in the historical and contemporary contexts belonging to undocumented communities and the cancer community. In This episode of Broken Boxes Guadalupe Maravilla speaks with Cannupa Hanska Luger about the current creation story of Mariposa Relámpago, a school bus being reworked into a new healing sound work. The artist reflects how this bus' artwork journey is becoming so much more including multiple communities involvements, several countries and even a volcano. We hear how migration routes are reflected throughout the visual language of Guadalupe's practice, including the autobiographical nature of the artist's own migration story as a child. Guadalupe unpacks a bit on how he strives to create sustainable micro economies through his artmaking process and we hear about how his art practice also becomes a vessel of support for new asylum seekers arriving in NYC, while in tandem the artworks provide sound healing for those recovering from trauma, including centering healing for cancer survivors. Rounding out the conversation Guadalupe shares how maintaining wellbeing for mind, spirit and body through daily ritual aids in the strength needed to continue to carry the work and support forward, and emplores us to find time in our daily life to nurture inner health. Please visit the following link to donate to Guadalupe's efforts in supporting new asylum seekers arriving in NYC. gofund.me/396e7d27 Artist website: https://www.guadalupemaravilla.com Artist IG: https://www.instagram.com/guadalupe__maravilla/ Song featured: La Democracia by the artist Very Be Careful
In this episode we hear interdisciplinary artist Christine Howard Sandoval in conversation with Cannupa Hanska Luger. Christine breaks down the importance of research within her current practice and how her family have become an integral part of her work as she uncovers deeper relationship to her ancestors' pathways throughout California. She reflects on the complexity of connection, disconnection and reconnection to land that we all face today and how she uses performance, video surveillance documentation and large scale earthen paintings to expand upon these notions of belonging. Christine implores us to examine the future of art and education and to trust our own speed and trajectory as we navigate the artworld, reminding us that culture is not static. More about the artist: Christine Howard Sandoval is an interdisciplinary artist who lives and works in the unceded territories of the Squamish, Tsleil-Waututh, and Musqueam First Nations and is an Assistant Professor of Interdisciplinary Praxis in the Audain Faculty of Art at Emily Carr University (Vancouver, BC). She is an enrolled member of the Chalon Nation in Bakersfield, CA. Howard Sandoval's work has exhibited nationally and internationally including: The Museum of Contemporary Art, University of São Paulo (Brazil), The Contemporary Art Gallery (Vancouver, BC), Oregon Contemporary (Portland, OR), The Museum of Capitalism (Oakland, CA), Designtransfer, Universität der Künste Berlin (Berlin, Germany), El Museo Del Barrio (New York, NY), and Socrates Sculpture Park (Queens, NY). Howard Sandoval's work has been the subject of solo museum exhibitions at the ICA San Diego (2021) and Colorado Springs Fine Arts Center at Colorado College (2019), during which time she was the Mellon Artist in Residence at Colorado College. Howard Sandoval has been awarded numerous residencies including: UBC Okanagan, Indigenous Art Intensive program (Kelowna, BC), ICA San Diego (Encinitas, CA), Santa Fe Art Institute (Santa Fe, NM), Triangle Arts Association (New York, NY). She is represented by parrasch heijnen, Los Angeles. Photo credit: Rachel Topham Photography Featured song: Journey In Satchidananda by Alice Coltrain
In this conversation Sterlin Harjo and Cannupa Hanska Luger reflect on the process and outcome of Sterlin's journey in creating the hit television series Reservation Dogs, now in its second season. They also talk about creating through a pandemic, lifting up independent filmmakers, swinging for the fences, the actors from Reservation Dogs and their character breakdowns, the latest custom hat by Cannupa, Indigenous film crews, with a little cameo by Sterlin's son Ayo and so much more. Sterlin Harjo is an award winning Seminole/Muscogee Creek filmmaker who has directed three feature films and a feature documentary all of which address the contemporary Native American lived experience. Harjo is a founding member of the five-member Native American comedy group, The 1491s. Sterlin's latest project Reservation Dogs, Season 2 now streaming on FX. This is the third conversation between Sterlin & Cannupa for the podcast - check our archive to listen to the first two conversations. Also check out Sterlin's podcast ‘The Cuts' where Sterin chats with the creative team from Reservation Dogs and many other creative peers, including Tiaka Waititi. Song featured: Letters On The Marquee by Vincent Neil Emerson
Cover photo of Miki Garcia by Alonso Parra.Please visit the website for Undoing Time: Art and Histories of Incarceration at ASU's Art Museum and at Berkeley Art Museum to learn more.1:30 ASU Art Museum's mission as a learning institution that centers art and artists in the service of social good and community well-being2:40 inspiration for Undoing Time: Art and Histories of Incarceration exhibition as a cultural mark in time for ASU Art Museum 6:40 effort to address all dimensions of an exhibition on mass incarceration and its impact on viewers8:00 Art for Justice Fund's involvement in exhibition 9:05 prior exhibition with artist Gregory Sale who worked with incarcerated populations9:15 Contemporary Art Museum Houston and Nicole Fleetwood's work with the Walls Turned Sideways: Artists Confront the Justice System exhibition 10:20 Undoing Time's focus began with a survey of how incarceration has been portrayed through images from the 18th Century Code of Hammurabi forward11:30 12 artists invited to create commissions for Undoing Time, including Mario Ybarra, Jr. who created a pizza parlor vignette that dealt with Ybarra's childhood friend Richard who later was incarcerated on a murder charge13:20 rehabilitation was shown in Ybarra's work that's not shown in historical images of incarceration 13:55 Stephanie Syjuco's commission abstracted images of black and brown incarcerated population15:10 Juan Brenner's commission about the Guatemalan Highlands and how the U.S. West Coast prison system gang culture was exported to Central America16:10 destruction of Guatemalan Highlands' residence due to erection of prison that houses Mara Salvatrucha gang17:25 architecture of prisons, e.g, the panopticon, the fortress18:00 Indigenous artists Raven Chacon and Cannupa Hanska Luger 19:15 Luger's commission focus on the relationship of land to mass incarceration19:25 Mass Liberation Arizona's mission of people over property21:00 Theater maker and Playwright Michael Rohd choreographed going through the exhibition 22:55 Raven Chacon's musical composition about a juvenile detention center24:10 Rohd's positing of questions and cards for viewer feedback 26:45 Art for Justice Fund to ASU poet Natalie Diaz and the Center for Imagination in the Borderlands30:00 undergoing critique of the purpose and operation of museums 33:30 museums are civic institutions of dialogue, engagement and storytelling and should be responsible to the communities they serve35:30 art's power to challenge inherited narratives about incarceration 37:15 how she sees her legacy to eliminate as many boundaries as possible and uphold all kinds of art forms and include more voices and to open up what a museum can be and who it's actually for39:20 evolution of her definition of justice 40:45 justice has to be fought for 40:55 justice as public loveTo view rewards for supporting the podcast, please visit Warfare's Patreon page.To leave questions or comments about this or other episodes of the podcast, please call 1.929.260.4942 or email Stephanie@warfareofartandlaw.com. © Stephanie Drawdy [2022]
Indigenous artists often straddle a space created by white anthropologists between art and craft. Cannupa Hanska Luger grapples with that dichotomy. Creating art from tradition that, in its time, was purely practical. And seeing his own contemporary activism viewed as art when it was, in fact, protest. Luger is a multidisciplinary artist and an enrolled member of the Three Affiliated Tribes of Fort Berthold—Mandan, Hidatsa, Arikara and Lakota. Through installations and social collaboration, Luger communicates stories about 21st-century indigeneity with critical cultural analysis and respect for the diverse materials, environments, and communities he engages. He lectures and produces large-scale projects around the globe and his works are in many public collections. Luger is a 2022 Guggenheim fellow, recipient of the 2021 United States Artists Fellowship Award for Craft and was named a Grist 50 Fixer for 2021, a list which includes emerging leaders in climate, sustainability, and equity who are creating change across the nation. He is a 2020 Creative Capital Fellow, a 2020 Smithsonian Artist Research Fellow, the recipient the 2020 A Blade Of Grass Artist Fellowship for Socially Engaged Art and the recipient of the Center For Crafts inaugural Craft Research Fund Artist Fellowship for 2020. He is the recipient of a 2019 Joan Mitchell Foundation Painters & Sculptors Grants, a 2019 Yerba Buena Center for the Arts Honoree and the recipient of the Museum of Arts and Design's 2018 inaugural Burke Prize.See omnystudio.com/listener for privacy information.
For this episode recurring host Cannupa Hanska Luger speaks with our dear friend and powerhouse artist and activist Tanya Aguiñiga about the cochineal beetle, clay as a healing practice for immigrant detainment camps, Indigenous solidarity and Tanya's ongoing work with AMBOS: Art Made Between Opposite Sides.Tanya Aguiñiga is an artist, designer, and craftsperson, who works with traditional craft materials like natural fibers and collaborates with other artists and activists to create sculptures, installations, performances, and community-based art projects. Drawing on her upbringing as a binational citizen, who daily crossed the border from Tijuana to San Diego for school, Aguiñiga's work speaks of the artist's experience of her divided identity and aspires to tell the larger and often invisible stories of the transnational community.Support the work Tanya is doing with AMBOS which stands for Art Made Between Opposite Sides, or donate directly to the AMBOS Ceramics program, which Tanya speaks of in this podcast.AMBOS (Art Made Between Opposite Sides): http://www.ambosproject.comDonate to AMBOS Ceramics program: https://fundraising.fracturedatlas.org/ambosLearn More about Tanya's work: http://www.tanyaaguiniga.comMusic Featured: For The Young by Kindness
In this episode recurring host and artist Cannupa Hanska Luger gets into conversation with Joseph M. Pierce, a Citizen of the Cherokee Nation and an Associate Professor at Stony Brook University where he teaches and researches about Queer Studies, Indigenous Studies and Latin American Studies. Joseph is also a writer and an artist who often collaborates with other Queer, Trans and 2spirit Indigenous Kin on curation and performance work. In this conversation Joseph and Cannupa speak about the points of connection within community through time, focusing on the realms of storytelling and speculative fiction that weave us together in continuum. More about the Artist: Joseph M. Pierce is Associate Professor in the Department of Hispanic Languages and Literature at Stony Brook University. His research focuses on the intersections of kinship, gender, sexuality, and race in Latin America, 19 th century literature and culture, queer studies, Indigenous studies, and hemispheric approaches to citizenship and belonging. He is the author of Argentine Intimacies: Queer Kinship in an Age of Splendor, 1890-1910 (SUNY Press, 2019) and co-editor of Políticas del amor: Derechos sexuales y escrituras disidentes en el Cono Sur (Cuarto Propio, 2018) as well as the 2021 special issue of GLQ, “Queer/Cuir Américas: Translation, Decoloniality, and the Incommensurable.” His work has been published recently in Revista Hispánica Moderna, Critical Ethnic Studies, Latin American Research Review, and has also been featured in Indian Country Today. Along with S.J. Norman (Koori of Wiradjuri descent) he is co-curator of the performance series Knowledge of Wounds. He is a citizen of the Cherokee Nation. Ways to engage with Joseph's work: Joseph M. Pierce website: https://www.josephmpierce.com Dayunisi's Turn: https://terremoto.mx/en/revista/el-giro-de-dayunisi/ Knowledge of Wounds: www.knowledgeofwounds.com Joseph and SJ Norman in conversation about their collaborative practice: https://movementresearch.org/publications/critical-correspondence/sj-norman-in-conversation-with-joseph-m-pierce Featured Song: Performing Life from Radio III / ᎦᏬᏂᏍᎩ ᏦᎢ by Elisa Harkins
In this episode we hear from New York-based narrative artist, producer, and curator Evan Starling-Davis who excavates the everyday stories pushed beneath the margins of our society. Navigating his lens as a Black and queer digital-age griot, Evan's work breaches the hard facts, personal truths, and surreal realities we bury ourselves in. His artistic practice is situated within art immersion, mindfulness pedagogy, and experiential technology, and is heavily guided by the Black Speculative Arts Movement (Afrosurrealism and Afrofuturism specifically). Evan Starling-Davis is in conversation with artist Cannupa Hanska Luger who is a recurring host with Broken Boxes and who often accesses speculative fiction in his practice from the perspective of an Indigenous person of the Great Plains of North America. This episode was recorded at Colgate University in Hamilton New York as a part of a recent artist residency. Special thanks to Nick West, Curator of Picker Art Gallery for the introductions to Evan Starling-Davis and for organizing a studio on campus to record this conversation. Artist Bio: Evan Starling-Davis is a New York-based narrative artist, producer, and curator, excavating the everyday stories pushed beneath the margins of our society. Navigating his lens as a Black and queer digital-age griot, Evan's work breaches the hard facts, personal truths, and surreal realities we bury ourselves in. A doctoral candidate of Literacy Education at Syracuse University with a focus in extended reality (XR) technology, Starling-Davis researches and facilitates arts-based literacy and social justice projects and interventions for Black communities in the US. His artistic practice is situated within art immersion, mindfulness pedagogy, and experiential technology, and is heavily guided by the Black Speculative Arts Movement (Afrosurrealism and Afrofuturism specifically). To create new pathways for Black imagination and media literacy to flourish, Evan combines motivational design, multimedia arts, and immersive technology in striking new ways. Exploring immersive technologies as tools of healing (such as virtual, augmented, and mixed-reality) his most recent project, Hidden Fragments Breathing, models the radical potential immersive art exposure has to transform literacy in Black communities across the Rust Belt. As a curator with meticulous attention-to-detail, Starling-Davis has managed public humanities projects and community-based art experiences from conception to completion. His interdisciplinary projects have been featured in art galleries, museums, and theaters internationally. More recently, he has been selected as a 2020-2021 Humanities NY Public Humanities Fellow, a 2019-2020 Louise B. and Bernard G. Palitz Art Scholar, and a 2018-2019 Syracuse University McKean Scholar. Music Featured: Saffron by MF DOOM from Metal Fingers Presents: Special Herbs Vol. 1 & 2
Mario Ybarra, Jr., is a visual and performance artist, an educator and an activist who combines street culture with fine art in order to produce what he calls “contemporary art that is filtered through a Mexican American experience in Los Angeles.” Mario has exhibited at the Art Institute of Chicago, ICA Boston, LACMA, MOCA Detroit, the Tate and the Whitney Biennial, among others. He was a featured speaker at the Creative Summit in New York, and Art Pace San Antonio and has taught at Williams College, UCLA, Otis, CalArts, Skowhegan and the Alternative School. His work with Slanguage studio, a project Mario founded with his partner Karla Diaz 20 years ago, has been an influential and oftentimes the sole provider of arts in his community. Slanguage has been based out of an old bakery shop in Wilmington Ca, out of a warehouse in Long beach Ca, out of LAX art in Hollywood, and has seen many changes and iterations. What does not change is a lifetime commitment to their community with contribution to the careers of many young artists, curators and organizers practicing in the artworld and affecting change today. This conversation is presented by artist Cannupa Hanska Luger, a recurring host who is leading the Spring/Summer sessions of the podcast for 2022. This episode was produced by Ginger Dunnill for Broken Boxes Podcast. Follow Mario's work on IG @mario_ybarra_jr and Slanguage Studio @slanguagestudio Music featured: Young, Gifted and Brown by Joe Bataan
Episode No. 542 features curator Paul Martineau and artist Marie Watt. Martineau is the curator of "Imogen Cunningham: A Retrospective," which has finally arrived at the J. Paul Getty Museum, Los Angeles, after a two-year pandemic delay. The exhibition will be on view through June 12. Cunningham had a remarkable 75-year career that touched on seemingly every movement in American art and photography between the first decade of the 20th century and her death in 1976. She is particularly well-known for her address of pictorialism, her turn to modernism, as well as street photography, nudes and portraits. This interview was recorded when the Getty published the catalogue in 2020. For images, see Episode No. 470. On the second segment, a segment recorded with Marie Watt in 2020 when the Crystal Bridges Museum of American Art and the Museum of Native American History, both in Bentonville, Ark., presented an exhibition of her work called "Companion Species." Now the University of San Diego is presenting a survey of her printmaking titled "Storywork: The Prints of Marie Watt," which is on view through May 13. The Peabody Essex Museum in Salem, Massachusetts is showing "Each/Other: Marie Watt and Cannupa Hanska Luger," an exhibition that spotlights the two artists' shared interests in collaboration, community engagement, materiality and the land. It's on view through May 8. For images, see Episode No. 482.
This is the final episode of a 3 part interview series featuring artist Kathy Elkwoman Whitman reflecting on her life and art in conversation with her son, artist Cannupa Hanska Luger.
This is the second episode of a 3 part interview series featuring artist Kathy Elkwoman Whitman reflecting on her life and art in conversation with her son, artist Cannupa Hanska Luger.
This is the first episode of a 3 part interview series featuring artist Kathy Elkwoman Whitman reflecting on her life and art in conversation with her son, artist Cannupa Hanska Luger.
Episode 12: Where is the Land in Landscape? “Where is the Land in Landscape?” investigates the histories of landscape painting in the canon of Western Art and assesses a few contemporary works of art that counter European modes of thinking about land, territory, nature and the environment. In the first part of the episode we cover historical painters working in Dutch, French, British and American landscape traditions. In the second part we at contemporary art including Cherokee artist Kay WalkingStick's paintings of place and space, the protest performance art piece Mirror Shield Project: Water Serpent Action at the Oceti Sakowin initiated by Cannupa Hanska Luger and Rory Wakemup, and Rebecca Belmore's Ayum-ee-aawach Oomama-mowan: Speaking to Their Mother. Sources + further reading: Adams, Ann Jensen. “Competing Communities in the ‘Great Bog of Europe': Identity and Seventeenth-Century Dutch Landscape Painting.” In Mitchell (see below). Auricchio, Authors: Laura. “The Transformation of Landscape Painting in France.” The Met's Heilbrunn Timeline of Art History. https://www.metmuseum.org/toah/hd/lafr/hd_lafr.htm. Baetjer, Authors: Katharine. “Claude Lorrain (1604/5?–1682).” The Met's Heilbrunn Timeline of Art History. https://www.metmuseum.org/toah/hd/clau/hd_clau.htm. Belmore, Rebecca. Artist's website. https://www.rebeccabelmore.com/. Benally, Razelle. How to Build Mirror Shields for Standing Rock Water Protectors, 2016. https://vimeo.com/191394747. Cole, Thomas. View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm—The Oxbow. Metropolitan Museum of Art. https://www.metmuseum.org/art/collection/search/10497. Hanska, Cannupa. “MIRROR SHIELD PROJECT.” Accessed December 12, 2021. http://www.cannupahanska.com/mniwiconi. Harris, Beth and Steven Zucker. "Constable and the English Landscape." Smarthistory, August 9, 2015. https://smarthistory.org/constable-and-the-english-landscape/. Liedtke, Authors: Walter. “Landscape Painting in the Netherlands.” The Met's Heilbrunn Timeline of Art History. https://www.metmuseum.org/toah/hd/lpnd/hd_lpnd.htm. Mitchell, W. J. T. Landscape and Power. Chicago: University of Chicago Press, 1994. Morris, Kate. Shifting Grounds: Landscape in Contemporary Native American Art. Seattle: University of Washington Press, 2019. Tate. “Landscape – Art Term.” Tate. https://www.tate.org.uk/art/art-terms/l/landscape. WalkingStick, “Kay. Artist's website. http://www.kaywalkingstick.com/. Music Credits: Alfred Cellier (British) - The Pirates of Penzance (Overture) https://commons.wikimedia.org/wiki/File:DOyly_Carte_1957_-_The_Pirates_of_Penzance_01_-_Overture.ogg Hector Berlioz (French) - Symphonie Fantastique 2nd movement excerpt https://commons.wikimedia.org/wiki/File:Hector_Berlioz_Symphonie_fantastique_2nd_movement_excerpt.mp3 Patrick Gilmore (American) - When Johnny Comes Marching Home https://commons.wikimedia.org/wiki/File:When_Johnny_Comes_Marching_Home,_U.S._Military_Academy_Band.wav Standing Rock Water Protestors https://commons.wikimedia.org/wiki/File:Call_to_block_Pipeline_CannonBall_,North_Dakota_SACRED_STONE_CAMP.webm Credits: Season 2 of Unboxing the Canon is produced by Professor Linda Steer for her course “Introduction to the History of Western Art” in the Department of Visual Arts at Brock University. Our sound designer, co-host and contributing researcher is Madeline Collins. Brock University is located on the traditional lands of the Haudenosaunee and Anishinaabe peoples, many of whom continue to live and work here today. This territory is covered by the Upper Canada Treaties and is within the land protected by the Dish with One Spoon Wampum Agreement. Today this gathering place is home to many First Nations, Métis and Inuit peoples and acknowledging reminds us that our great standard of living is directly related to the resources and friendship of Indigenous people. Our logo was created by Cherie Michels. The theme song has been adapted from “Night in Venice” Kevin MacLeod and is licensed under Creative Commons Attribution International 4.0. Grants from the Humanities Research Institute and from Match of Minds at Brock University support the production of this podcast, which is produced as an open educational resource. Unboxing the Canon is archived in the Brock Digital Repository. Find it at https://dr.library.brocku.ca/handle/10464/14929 You can also find Unboxing the Canon on any of the main podcast apps. Please subscribe and rate our podcast. You can also find us on Twitter @CanonUnboxing and Instagram @unboxingthecanon or you can write to unboxingthecanon@gmail.com
In this conversation, artists Léuli Eshrāghi and Cannupa Hanska Luger untangle topics of Indigenous futures, science fiction, belonging, and the possibilities of language. Léuli Eshrāghi is a curator and artist of Sāmoan, Persian and Guangdong heritage with a few Marshallese, English and German ancestors, living and working in Mparntwe/Alice Springs for the past year. Cannupa Hanska Luger is a multidisciplinary artist based in New Mexico, USA. He is an enrolled member of the Three Affiliated Tribes of Fort Berthold of Mandan, Hidatsa, Arikara, Lakota, and European heritage. The written version of this peer to peer conversation is featured in the 2021 Festival Book the 22nd annual imagineNATIVE Film + Media Arts Festival which took place online October 19-24, 2021 celebrating Indigenous storytelling in film, video, audio, and digital and interactive art. The 2021 Festival Book brings together voices from imagineNATIVE's international community. Through essays, personal reflections, conversations, and poems, the Festival Book give readers insight into the overarching curatorial theme Fall Camp, Official Selected works in Audio, Digital + Interactive, and Film + Video, and Guest-Curated programs in Film at the online 2021 Festival. Purchase the publication which features this peer to peer conversation and so much more at https://store.imaginenative.org/collections/publications-collection/products/2021-festival-book-pre-sale The recorded conversation presented here was edited and produced by Broken Boxes Podcast with permission from the artists and imagineNATIVE. Music featured: Suplex by Halluci Nation Special thanks to Nikki Little and Vanessa Martin of imagineNATIVE for making this artist intersection possible.
Rose Library's Community Outreach Archivist and Community Conversations host, Lolita Rowe sat down with artists Marie Watt and Cannupa Hanska Luger, and Carlos Museum curator, Megan O'Neil to explore ideas of community, making connections, collaborative art making, identity, and much more. Explore Marie Watt's art here. And Cannupa Hanska Luger's here. For more information on the exhibition Each/Other, which is open to the public through December 12, 2021, visit the Carlos Museum website. Emory University's Land Acknowledgement Statement
This episode presents a candid and vulnerable reflection into the experience of one family of creatives and how they are making it work. Creatives and life partners, Artist Cannupa Hanska Luger and Producer Ginger Dunnill speak about their journey together for over a decade, making art, producing content and always being ‘one step closer to almost being done'. The focus of their conversation is on the last two+ years; navigating the pandemic, travel, making art and caring for family. This episode is shared in a hope to offer insight to others who may feel overwhelmed by the pressure to participate in the artworld in a sustainable way for mental and physical wellbeing. About the artists: Multi-disciplinary artist Cannupa Hanska Luger communicates stories of 21st century Indigeneity through social collaboration, performance and monumental installations which incorporate ceramic, steel and fiber. He exhibits, lectures and produces projects globally. www.cannupahanska.com Broken Boxes Podcast creator and host Ginger Dunnill centers collaboration to create a living archive in support of intersectionality. She has organized exhibitions and social engagement projects globally, activating transformative justice practices. www.brokenboxespodcast.com Music: Tears Of Fire, Glad As Knives, 2011
This episode presents a candid and vulnerable reflection into the experience of one family of creatives and how they are making it work. Creatives and life partners, Artist Cannupa Hanska Luger and Producer Ginger Dunnill speak about their journey together for over a decade, making art, producing content and always being ‘one step closer to almost being done'. The focus of their conversation is on the last two+ years; navigating the pandemic, travel, making art and caring for family. This episode is shared in a hope to offer insight to others who may feel overwhelmed by the pressure to participate in the artworld in a sustainable way for mental and physical wellbeing. About the artists: Multi-disciplinary artist Cannupa Hanska Luger communicates stories of 21st century Indigeneity through social collaboration, performance and monumental installations which incorporate ceramic, steel and fiber. He exhibits, lectures and produces projects globally. www.cannupahanska.com Broken Boxes Podcast creator and host Ginger Dunnill centers collaboration to create a living archive in support of intersectionality. She has organized exhibitions and social engagement projects globally, activating transformative justice practices. www.brokenboxespodcast.com Music: Tears Of Fire, Glad As Knives, 2011
This episode we are in conversation with artist Marie Watt. Marie is a member of the Seneca Nation and also has German-Scot ancestry. Her interdisciplinary work draws from history, biography, Iroquois protofeminism, and Indigenous teachings; in it, she explores the intersection of history, community, and storytelling. Through collaborative actions, she instigates multigenerational and cross-disciplinary conversations that might create a lens and conversation for understanding connectedness to place, one another, and the universe.This conversation took place in February of 2021 at Camp Colton during a residency Marie Watt and collaborator Cannupa Hanska Luger were in, hosted through the Portland based organization, Stelo Arts and Culture Foundation. Tucked into a cedar forest in the Pacific Northwest for two weeks, the artists and their families hung out in a pod as the artists worked to create together a new monumental work for their two person exhibition Each/Other: Marie Watt & Cannupa Hanska Luger. The piece is a canine form, created out of bandanas stitched with messages sent to the artists from around the world. http://mariewattstudio.comhttps://www.denverartmuseum.org/exhibitions/each-otherMusic: A Fly In The Hand by Alice Russell
This episode we are in conversation with artist Marie Watt. Marie is a member of the Seneca Nation and also has German-Scot ancestry. Her interdisciplinary work draws from history, biography, Iroquois protofeminism, and Indigenous teachings; in it, she explores the intersection of history, community, and storytelling. Through collaborative actions, she instigates multigenerational and cross-disciplinary conversations that might create a lens and conversation for understanding connectedness to place, one another, and the universe.This conversation took place in February of 2021 at Camp Colton during a residency Marie Watt and collaborator Cannupa Hanska Luger were in, hosted through the Portland based organization, Stelo Arts and Culture Foundation. Tucked into a cedar forest in the Pacific Northwest for two weeks, the artists and their families hung out in a pod as the artists worked to create together a new monumental work for their two person exhibition Each/Other: Marie Watt & Cannupa Hanska Luger. The piece is a canine form, created out of bandanas stitched with messages sent to the artists from around the world. http://mariewattstudio.comhttps://www.denverartmuseum.org/exhibitions/each-otherMusic: A Fly In The Hand by Alice Russell
Sterlin Harjo is an award winning Seminole/Muscogee Creek filmmaker who has directed three feature films and a feature documentary all of which address the contemporary Native American lived experience. Harjo is a founding member of the five-member Native American comedy group, The 1491s. Sterlin's latest project Reservation Dogs, is a television show created in collaboration with Taika Waititi , airs August 9th on FX. Cannupa Hanska Luger is a renown multidisciplinary artist who creates monumental and situational installations and durational performance and often initiates community participation and social collaboration. Raised on the Standing Rock Reservation in North Dakota, he is an enrolled member of the Three Affiliated Tribes of Fort Berthold and is of Mandan, Hidatsa, Arikara, Lakota and European descent. In this conversation the artists reflect on the process and outcome from Sterlin's journey on creating the television series Reservation Dogs. They also talk about Native humor, colonization, fruit flies, equity for women in the film industry, their mullets, anxiety in dealing with the press, boundaries, honesty, Indigenous community responsibility, Billy Jack hats, Indigenous film crews, fatherhood and so much more. I hope you enjoy this little pre-party before you get to see the premier of Reservation Dogs on August 9th on FX. Also check out Sterlin's podcast ‘The Cuts' where this conversation and others with the creative team from Reservation Dogs and Sterlin will be airing and ‘The Cuts' archive is thick, including an interview with his collaborator Taika Waititi. Watch Reservation Dogs Trailer: https://youtu.be/RoHewFAkrWU Follow the artists work: www.sterlinharjo.com www.cannupahanska.com Music: ‘Rumble' by Link Wrey
Sterlin Harjo is an award winning Seminole/Muscogee Creek filmmaker who has directed three feature films and a feature documentary all of which address the contemporary Native American lived experience. Harjo is a founding member of the five-member Native American comedy group, The 1491s. Sterlin's latest project Reservation Dogs, is a television show created in collaboration with Taika Waititi , airs August 9th on FX. Cannupa Hanska Luger is a renown multidisciplinary artist who creates monumental and situational installations and durational performance and often initiates community participation and social collaboration. Raised on the Standing Rock Reservation in North Dakota, he is an enrolled member of the Three Affiliated Tribes of Fort Berthold and is of Mandan, Hidatsa, Arikara, Lakota and European descent. In this conversation the artists reflect on the process and outcome from Sterlin's journey on creating the television series Reservation Dogs. They also talk about Native humor, colonization, fruit flies, equity for women in the film industry, their mullets, anxiety in dealing with the press, boundaries, honesty, Indigenous community responsibility, Billy Jack hats, Indigenous film crews, fatherhood and so much more. I hope you enjoy this little pre-party before you get to see the premier of Reservation Dogs on August 9th on FX. Also check out Sterlin's podcast ‘The Cuts' where this conversation and others with the creative team from Reservation Dogs and Sterlin will be airing and ‘The Cuts' archive is thick, including an interview with his collaborator Taika Waititi. Watch Reservation Dogs Trailer: https://youtu.be/RoHewFAkrWU Follow the artists work: www.sterlinharjo.com www.cannupahanska.com Music: ‘Rumble' by Link Wrey
As part of STTLMNT Digital Occupation, we are thrilled to share a vulnerable, vivid, layered, and candid conversation between Director Sterlin Harjo and artist Cannupa Hanska Luger on the making of Harjo's film Love & Fury.The conversation takes us into the beginning of Harjo's relationship to Native art rom childhood, through experiences within the Native art market with his peers and into Harjo's experience in meeting up with Luger in Plymouth, UK to film. We also hear about Harjo's poetic and visionary approach to the choices he made for Love & Fury's aesthetic and storyline and Harjo talks about his upcoming exciting TV series with Taika Waititi, Reservation Dogs. Sterlin is an incredible storyteller and we are grateful to share his perspective with you here.We hope you enjoy listening in to this conversation as much as we enjoyed having it. More info: www.sttlmnt.org/projects/love-and-furyAbout the film Love & Fury:Filmmaker Sterlin Harjo follows Native artists as they navigate their careers in the US and abroad. The film explores the immense complexities each artist faces of their own identity as Native artists, as well as, advancing Native art into a post-colonial world.DIRECTORS NOTE: “The film is a conversation that I've wanted to have for a long time. Native art has been shackled to history by a false vision of what Native people are through the settler gaze of our current reality. I wanted to make something bold and in your face, directly putting up a finger to the shackles of the art world and historic representation of our people. We are diverse, we are dark, we are beautiful and so is our artwork. We are human beings.” - Sterlin HarjoLOVE & FURYDIRECTOR - Sterlin Harjo EXECUTIVE PRODUCER - Robin Ballenger RUNTIME - 93 minutesMORE INFO - www.loveandfuryfilm.com
"dear fellow settler colonizer," is a Minus Plato series, rebroadcast on Broken Boxes for STTLMNT Digital Occupation as resource archive directed towards education of settler ancestors who may like to more relationally engage with work created by and centering Indigenous artists, such as with the STTLMNT project. “The show will explore the transformative work of contemporary global Indigenous artists from the explicitly problematic perspective of the settler colonizer. By critically examining our complicity in ongoing structures of colonial violence, the show offers tools for settler colonizers to engage with Indigenous artmaking beyond positions of exploitation, appropriation and other harmful moves to innocence.” -Minus Plato www.sttlmnt.org www.sttlmnt.org/red-brigade-films www.minusplato.com "This episode focuses on STTLMNT: Indigenous Digital Occupation, by asking how settlers can change our relationship to the internet as part of the reclamation of digital space by and for Indigenous artists and audiences. The whole episode comprises a conversation between Cannupa Hanska Luger, concept artist of STTLMNT and filmmaker and Red Brigade Films Director Razelle Benally. Through an intimate exchange, the two artists share their experiences at the very heart of the STTLMNT project; how the conceptual core of the project shifted to digital space and how this concept was expanded and enriched through the intense and exhausting labor of Benally's pandemic-era travel across the country to create the sequence of films devoted to the participating artists and their practices. Expanding on her statement about the project posted on the STTLMNT website, Benally discusses her films as ‘vessels of access' to the participating artists as a generative alternative to settler colonial methods of occupation, extraction and erasure. Her process in careful dialogue with each artist challenges the very language of documentary film that speaks of ‘shooting', ‘capturing', and ‘cutting' within the filming and editing process. The conversation offers a compelling insight into the making of the STTLMNT project that shows how its uniqueness as an Indigenous online art project cannot be simplistically accessed or consumed by curious settler audiences, but must be engaged as part of an ongoing process of unlearning entrenched ideas about what it means to occupy space across, even across digital networks." Image: taken on-site in Tulsa, Oklahoma at Wild Mountain Studios while gathering footage of participating artist Elisa Harkins as part of the final region of the Red Brigade Films short documentary series for STTLMNT. The image features Director Razelle Benally, Cinematographer Adam Conte, Executive Producer Ginger Dunnill and was taken by Jade Begay, 2021, with text in Pueblo typeface by Vier5
"dear fellow settler colonizer," is a Minus Plato series, rebroadcast on Broken Boxes for STTLMNT Digital Occupation as resource archive directed towards education of settler ancestors who may like to more relationally engage with work created by and centering Indigenous artists, such as with the STTLMNT project. “The show will explore the transformative work of contemporary global Indigenous artists from the explicitly problematic perspective of the settler colonizer. By critically examining our complicity in ongoing structures of colonial violence, the show offers tools for settler colonizers to engage with Indigenous artmaking beyond positions of exploitation, appropriation and other harmful moves to innocence.” -Minus Plato www.sttlmnt.org www.sttlmnt.org/red-brigade-films www.minusplato.com "This episode focuses on STTLMNT: Indigenous Digital Occupation, by asking how settlers can change our relationship to the internet as part of the reclamation of digital space by and for Indigenous artists and audiences. The whole episode comprises a conversation between Cannupa Hanska Luger, concept artist of STTLMNT and filmmaker and Red Brigade Films Director Razelle Benally. Through an intimate exchange, the two artists share their experiences at the very heart of the STTLMNT project; how the conceptual core of the project shifted to digital space and how this concept was expanded and enriched through the intense and exhausting labor of Benally's pandemic-era travel across the country to create the sequence of films devoted to the participating artists and their practices. Expanding on her statement about the project posted on the STTLMNT website, Benally discusses her films as ‘vessels of access' to the participating artists as a generative alternative to settler colonial methods of occupation, extraction and erasure. Her process in careful dialogue with each artist challenges the very language of documentary film that speaks of ‘shooting', ‘capturing', and ‘cutting' within the filming and editing process. The conversation offers a compelling insight into the making of the STTLMNT project that shows how its uniqueness as an Indigenous online art project cannot be simplistically accessed or consumed by curious settler audiences, but must be engaged as part of an ongoing process of unlearning entrenched ideas about what it means to occupy space across, even across digital networks." Image: taken on-site in Tulsa, Oklahoma at Wild Mountain Studios while gathering footage of participating artist Elisa Harkins as part of the final region of the Red Brigade Films short documentary series for STTLMNT. The image features Director Razelle Benally, Cinematographer Adam Conte, Executive Producer Ginger Dunnill and was taken by Jade Begay, 2021, with text in Pueblo typeface by Vier5
"dear fellow settler colonizer," is a Minus Plato series, rebroadcast on Broken Boxes for STTLMNT Digital Occupation as resource archive directed towards education of settler ancestors who may like to more relationally engage with work created by and centering Indigenous artists, such as with the STTLMNT project. www.sttlmnt.org “The show will explore the transformative work of contemporary global Indigenous artists from the explicitly problematic perspective of the settler colonizer. By critically examining our complicity in ongoing structures of colonial violence, the show offers tools for settler colonizers to engage with Indigenous artmaking beyond positions of exploitation, appropriation and other harmful moves to innocence.” - Minus Plato "This episode will focus on Indigenous languages and our position as settlers in relation to contemporary Indigenous artists' use of and engagement with Indigenous language learning, publication and other forms of distribution. At the heart of this episode is a wide-ranging conversation with Cannupa Hanska Luger, concept artist of STTLMNT: Indigenous Digital Occupation, about the place of language in their recent work EACH/OTHER (with Marie Watt) and how Indigenous language learning builds community while also transforming the English language from within. The episode also engages with Potu faitautusi: Faiāʻoga o gagana e, ia uluulumamau!, which translates from the Sāmoan language as ‘Be Courageous, Language Teachers! Reading Room', an ongoing project at Columbus Printed Arts Center. We hear from guest librarian Dr Léuli Eshrāghi about how they and other participating artists (including Sarah Biscarra Dilley and Sebastián Calfuqueo Aliste) gather books on Indigenous art and philosophy and create prints with an Indigenous language phrase, proverb or concept to generate a constellatory syllabus grounded in sensual, spoken and marked languages. Léuli offers a description of their new limited edition print created for the project which includes a precolonial Sāmoan prayer and is now available to buy on the Columbus Printed Arts Center website. Throughout the episode, you will hear samples from Elisa Harkins' album Radio III / ᎦᏬᏂᏍᎩ ᏦᎢ mixing disco beats with singing in the Cherokee and Muscogee Creek languages. The album is available from Western Front Recordings and on Harkins' Bandcamp as a digital download or vinyl LP." - Minus Plato www.minusplato.com www.cannupahanska.com
"dear fellow settler colonizer," is a Minus Plato series, rebroadcast on Broken Boxes for STTLMNT Digital Occupation as resource archive directed towards education of settler ancestors who may like to more relationally engage with work created by and centering Indigenous artists, such as with the STTLMNT project. www.sttlmnt.org “The show will explore the transformative work of contemporary global Indigenous artists from the explicitly problematic perspective of the settler colonizer. By critically examining our complicity in ongoing structures of colonial violence, the show offers tools for settler colonizers to engage with Indigenous artmaking beyond positions of exploitation, appropriation and other harmful moves to innocence.” - Minus Plato "This episode will focus on Indigenous languages and our position as settlers in relation to contemporary Indigenous artists' use of and engagement with Indigenous language learning, publication and other forms of distribution. At the heart of this episode is a wide-ranging conversation with Cannupa Hanska Luger, concept artist of STTLMNT: Indigenous Digital Occupation, about the place of language in their recent work EACH/OTHER (with Marie Watt) and how Indigenous language learning builds community while also transforming the English language from within. The episode also engages with Potu faitautusi: Faiāʻoga o gagana e, ia uluulumamau!, which translates from the Sāmoan language as ‘Be Courageous, Language Teachers! Reading Room', an ongoing project at Columbus Printed Arts Center. We hear from guest librarian Dr Léuli Eshrāghi about how they and other participating artists (including Sarah Biscarra Dilley and Sebastián Calfuqueo Aliste) gather books on Indigenous art and philosophy and create prints with an Indigenous language phrase, proverb or concept to generate a constellatory syllabus grounded in sensual, spoken and marked languages. Léuli offers a description of their new limited edition print created for the project which includes a precolonial Sāmoan prayer and is now available to buy on the Columbus Printed Arts Center website. Throughout the episode, you will hear samples from Elisa Harkins' album Radio III / ᎦᏬᏂᏍᎩ ᏦᎢ mixing disco beats with singing in the Cherokee and Muscogee Creek languages. The album is available from Western Front Recordings and on Harkins' Bandcamp as a digital download or vinyl LP." - Minus Plato www.minusplato.com www.cannupahanska.com
"dear fellow settler colonizer," is a Minus Plato series, rebroadcast on Broken Boxes for STTLMNT Digital Occupation as resource archive directed towards education of settler ancestors who may like to more relationally engage with work created by and centering Indigenous artists, such as with the STTLMNT project. “The show will explore the transformative work of contemporary global Indigenous artists from the explicitly problematic perspective of the settler colonizer. By critically examining our complicity in ongoing structures of colonial violence, the show offers tools for settler colonizers to engage with Indigenous artmaking beyond positions of exploitation, appropriation and other harmful moves to innocence.” "This episode will discuss approaches to curriculum for global Indigenous arts from within and beyond the settler institutions of the university and the museum. In addition to an ongoing conversation on this topic with Cannupa Hanska Luger, concept artist of STTLMNT: Indigenous Digital Occupation, the episode centers on a narrative by Jaime Morse, educator for Indigenous Programs and Outreach at the National Gallery of Canada, Ottawa. Focusing on her experience as an educator at the two large-scale exhibitions of global Indigenous art, Sakahàn (2013) and Àbadakone (2019), Morse describes the work of Sámi architect and artist Joar Nango (Sámi Architectural Library, 2019) at the latter as a space of gathering and knowledge exchange, not only for other artists in the exhibition, but also for Indigenous community members. At the beginning and end of the episode are two spoken word pieces by writer, artist and curator Taqralik Partridge, of Inuit, Scottish and Canadian heritage: ‘Decolonisation is a Pyramid Scheme' and ‘Untitled'. The former was included in a TV show created by Joar Nango and Ken Are Bongo called Post-Capitalist Architecture TV for Bergen Kunsthall, while the latter was included in NIRIN: 22nd Sydney Biennale, curated by Brook Andrew. ‘Untitled' was originally written following a performance by Indigenous Brazilian artist Denilson Baniwa in Toronto and Partridge agreed for it to be included in today's episode with a request for donations to support the South American Indigenous Network Emergency Fund – here is the link to donate: www.gofundme.com/f/south-american…k-emergency-fund " -Minus Plato
"dear fellow settler colonizer," is a Minus Plato series, rebroadcast on Broken Boxes for STTLMNT Digital Occupation as resource archive directed towards education of settler ancestors who may like to more relationally engage with work created by and centering Indigenous artists, such as with the STTLMNT project. “The show will explore the transformative work of contemporary global Indigenous artists from the explicitly problematic perspective of the settler colonizer. By critically examining our complicity in ongoing structures of colonial violence, the show offers tools for settler colonizers to engage with Indigenous artmaking beyond positions of exploitation, appropriation and other harmful moves to innocence.” "This episode will discuss approaches to curriculum for global Indigenous arts from within and beyond the settler institutions of the university and the museum. In addition to an ongoing conversation on this topic with Cannupa Hanska Luger, concept artist of STTLMNT: Indigenous Digital Occupation, the episode centers on a narrative by Jaime Morse, educator for Indigenous Programs and Outreach at the National Gallery of Canada, Ottawa. Focusing on her experience as an educator at the two large-scale exhibitions of global Indigenous art, Sakahàn (2013) and Àbadakone (2019), Morse describes the work of Sámi architect and artist Joar Nango (Sámi Architectural Library, 2019) at the latter as a space of gathering and knowledge exchange, not only for other artists in the exhibition, but also for Indigenous community members. At the beginning and end of the episode are two spoken word pieces by writer, artist and curator Taqralik Partridge, of Inuit, Scottish and Canadian heritage: ‘Decolonisation is a Pyramid Scheme' and ‘Untitled'. The former was included in a TV show created by Joar Nango and Ken Are Bongo called Post-Capitalist Architecture TV for Bergen Kunsthall, while the latter was included in NIRIN: 22nd Sydney Biennale, curated by Brook Andrew. ‘Untitled' was originally written following a performance by Indigenous Brazilian artist Denilson Baniwa in Toronto and Partridge agreed for it to be included in today's episode with a request for donations to support the South American Indigenous Network Emergency Fund – here is the link to donate: www.gofundme.com/f/south-american…k-emergency-fund " -Minus Plato
"dear fellow settler colonizer," is a minus plato series, rebroadcast on Broken Boxes for STTLMNT Digital Occupation as resource archive directed towards education of settler ancestors who may like to more relationally engage with work created by and centering Indigenous artists such as STTLMNT, www.sttlmnt.org. "This episode focuses on collaborations between Indigenous and non-Indigenous artists and audiences across a range of roles, from ally to accomplice, challenging performative settler 'moves to innocence'. From the Columbus Museum of Art exhibition "Object/Set" by Gauri Gill to the radical media projects of New Red Order (NRO) and their 'informants', the episode continues the radio show's focus on exploring the transformative work of contemporary global Indigenous artists from the explicitly problematic perspective of the settler colonizer. By critically examining our complicity in ongoing structures of colonial violence, the show offers tools for settler colonizers to engage with Indigenous artmaking beyond positions of exploitation, appropriation and other harmful moves to innocence. In this episode, Minus Plato will again be joined by Cannupa Hanska Luger, concept artist of STTLMNT: Indigenous Digital Occupation “The show will explore the transformative work of contemporary global Indigenous artists from the explicitly problematic perspective of the settler colonizer. By critically examining our complicity in ongoing structures of colonial violence, the show offers tools for settler colonizers to engage with Indigenous artmaking beyond positions of exploitation, appropriation and other harmful moves to innocence.” - Minus Plato For each episode, Minus Plato will be joined by Cannupa Hanska Luger, Native American concept artist of STTLMNT: Indigenous Digital Occupation. www.cannupahanska.com // www.minusplato.com This is a rebroadcast for the purposes of education to settler ancestors who are engaging with the work of STTLMNT: Indigenous Digital Occupation. www.sttlmnt.org Image: photo from outside looking in at the New Red Order (NRO) "Never Settle" installation at the Toronto Biennial of Art, 2019 with text in Pueblo typeface by VIER5
"dear fellow settler colonizer," is a minus plato series, rebroadcast on Broken Boxes for STTLMNT Digital Occupation as resource archive directed towards education of settler ancestors who may like to more relationally engage with work created by and centering Indigenous artists such as STTLMNT, www.sttlmnt.org. "This episode focuses on collaborations between Indigenous and non-Indigenous artists and audiences across a range of roles, from ally to accomplice, challenging performative settler 'moves to innocence'. From the Columbus Museum of Art exhibition "Object/Set" by Gauri Gill to the radical media projects of New Red Order (NRO) and their 'informants', the episode continues the radio show's focus on exploring the transformative work of contemporary global Indigenous artists from the explicitly problematic perspective of the settler colonizer. By critically examining our complicity in ongoing structures of colonial violence, the show offers tools for settler colonizers to engage with Indigenous artmaking beyond positions of exploitation, appropriation and other harmful moves to innocence. In this episode, Minus Plato will again be joined by Cannupa Hanska Luger, concept artist of STTLMNT: Indigenous Digital Occupation “The show will explore the transformative work of contemporary global Indigenous artists from the explicitly problematic perspective of the settler colonizer. By critically examining our complicity in ongoing structures of colonial violence, the show offers tools for settler colonizers to engage with Indigenous artmaking beyond positions of exploitation, appropriation and other harmful moves to innocence.” - Minus Plato For each episode, Minus Plato will be joined by Cannupa Hanska Luger, Native American concept artist of STTLMNT: Indigenous Digital Occupation. www.cannupahanska.com // www.minusplato.com This is a rebroadcast for the purposes of education to settler ancestors who are engaging with the work of STTLMNT: Indigenous Digital Occupation. www.sttlmnt.org Image: photo from outside looking in at the New Red Order (NRO) "Never Settle" installation at the Toronto Biennial of Art, 2019 with text in Pueblo typeface by VIER5
"dear fellow settler colonizer," is a minus plato series, rebroadcast on Broken Boxes for STTLMNT Digital Occupation as resource archive directed towards education of settler ancestors who may like to more relationally engage with this website and other work created by and centering Indigenous artists. “The show will explore the transformative work of contemporary global Indigenous artists from the explicitly problematic perspective of the settler colonizer. By critically examining our complicity in ongoing structures of colonial violence, the show offers tools for settler colonizers to engage with Indigenous artmaking beyond positions of exploitation, appropriation and other harmful moves to innocence.” -minus plato For each episode, minus plato will be joined by Cannupa Hanska Luger, Native American concept artist of STTLMNT: Indigenous Digital Occupation. www.cannupahanska.com // www.minusplato.com This is a rebroadcast for the purposes of education to settler ancestors who are engaging with the work of STTLMNT: Indigenous Digital Occupation. This rebroadcast is of the first episode of Minus Plato program aired at 12pm EST, USA on Friday, 22 January, 2021. After each episode of the series airs we will publish the recording to www.sttlmnt.org/blog This is a rebroadcast for the purposes of education to settler ancestors who are engaging with the work of STTLMNT: Indigenous Digital Occupation. This rebroadcast is of the first episode of this minus plato radio program which aired at 12pm EST, USA on Friday, 22 January, 2021.
"dear fellow settler colonizer," is a minus plato series, rebroadcast on Broken Boxes for STTLMNT Digital Occupation as resource archive directed towards education of settler ancestors who may like to more relationally engage with this website and other work created by and centering Indigenous artists. “The show will explore the transformative work of contemporary global Indigenous artists from the explicitly problematic perspective of the settler colonizer. By critically examining our complicity in ongoing structures of colonial violence, the show offers tools for settler colonizers to engage with Indigenous artmaking beyond positions of exploitation, appropriation and other harmful moves to innocence.” -minus plato For each episode, minus plato will be joined by Cannupa Hanska Luger, Native American concept artist of STTLMNT: Indigenous Digital Occupation. www.cannupahanska.com // www.minusplato.com This is a rebroadcast for the purposes of education to settler ancestors who are engaging with the work of STTLMNT: Indigenous Digital Occupation. This rebroadcast is of the first episode of Minus Plato program aired at 12pm EST, USA on Friday, 22 January, 2021. After each episode of the series airs we will publish the recording to www.sttlmnt.org/blog This is a rebroadcast for the purposes of education to settler ancestors who are engaging with the work of STTLMNT: Indigenous Digital Occupation. This rebroadcast is of the first episode of this minus plato radio program which aired at 12pm EST, USA on Friday, 22 January, 2021.
As part of STTLMNT Digital Occupation, we are thrilled to share a vulnerable, vivid, layered, and candid conversation between Director Sterlin Harjo and artist Cannupa Hanska Luger on the making of Harjo’s film Love & Fury.The conversation takes us into the beginning of Harjo’s relationship to Native art rom childhood, through experiences within the Native art market with his peers and into Harjo’s experience in meeting up with Luger in Plymouth, UK to film. We also hear about Harjo’s poetic and visionary approach to the choices he made for Love & Fury’s aesthetic and storyline and Harjo talks about his upcoming exciting TV series with Taika Waititi, Reservation Dogs. Sterlin is an incredible storyteller and we are grateful to share his perspective with you here.We hope you enjoy listening in to this conversation as much as we enjoyed having it. More info: www.sttlmnt.org/projects/love-and-furyAbout the film Love & Fury:Filmmaker Sterlin Harjo follows Native artists as they navigate their careers in the US and abroad. The film explores the immense complexities each artist faces of their own identity as Native artists, as well as, advancing Native art into a post-colonial world.DIRECTORS NOTE: “The film is a conversation that I’ve wanted to have for a long time. Native art has been shackled to history by a false vision of what Native people are through the settler gaze of our current reality. I wanted to make something bold and in your face, directly putting up a finger to the shackles of the art world and historic representation of our people. We are diverse, we are dark, we are beautiful and so is our artwork. We are human beings.” - Sterlin HarjoLOVE & FURYDIRECTOR - Sterlin Harjo EXECUTIVE PRODUCER - Robin Ballenger RUNTIME - 93 minutesMORE INFO - www.loveandfuryfilm.com
Cannupa Hanska Luger is a New Mexico based multidisciplinary artist who uses social collaboration in response to timely and site-specific issues. Raised on the Standing Rock Reservation in North Dakota, he is of Mandan, Hidatsa, Arikara, Lakota and European descent. Luger produces multi-pronged projects that take many forms—through monumental installations that incorporate ceramics, video, sound, fiber, steel, new media, technology and repurposed materials, Luger interweaves performance and political action to communicate stories about 21st Century Indigeneity. This work provokes diverse audiences to engage with Indigenous peoples and values apart from the lens of colonial social structuring, and often presents a call to action to protect land from capitalist exploits. He combines critical cultural analysis with dedication and respect for the diverse materials, environments, and communities he engages. Luger is a recipient of a 2021 United States Artists award, 2020 Creative Capital Fellow, a 2020 Smithsonian Artist Research Fellow, the recipient the 2020 A Blade Of Grass Artist Fellowship for Socially Engaged Art and the recipient of the Center For Crafts inaugural Craft Research Fund Artist Fellowship for 2020. He is the recipient of a 2019 Joan Mitchell Foundation Painters & Sculptors Grants, a 2019 Yerba Buena Center for the Arts Honoree and the recipient of the Museum of Arts and Design’s 2018 inaugural Burke Prize. Luger has exhibited internationally including venues such as the Gardiner Museum, Washington Project for the Arts, Art Mûr, Crystal Bridges Museum of American Art and the National Center for Civil and Human Rights, among others. He lectures, participates in residencies and large scale projects around the globe and his work is in many public collections. Luger holds a BFA in studio arts from the Institute of American Indian Arts. www.cannupahanska.com @cannupahanska #cannupahanskaluger Website: www.cannupahanska.com Gallery: https://www.garthgreenan.com Social media: IG @cannupahanska #cannupahanskaluger Upcoming exhibitions: https://www.denverartmuseum.org/en/exhibitions/each-other https://mesaartscenter.com/index.php/museum/art/exhibits/cannupa Current projects you must check out: STTLMNT: https://www.sttlmnt.org Future Ancestral Technologies: http://www.cannupahanska.com/fat Do It: Home: https://curatorsintl.org/special-projects/do-it
On episode 098 of The Quarantine Tapes, Paul Holdengräber is joined by artists Yuval Sharon and Cannupa Hanska Luger. Yuval and Cannupa recently collaborated on the opera Sweetland. They talk with Paul about the future of opera and of artistic spaces in general, offering their thoughts on colonialism, postmodernism, and how opera will respond to the need for increased diversity. Their conversation touches on how this time in quarantine has given both Yuval and Cannupa the opportunity to reflect on their relationship with their artistic practice, digging into the role of community in art and what it means to advocate for change both inside and outside of institutions. Follow this link for more information about Yuval Sharon and his new position at the Michigan Opera Theater.https://www.nytimes.com/2020/09/09/arts/music/yuval-sharon-michigan-opera-theater.html
Cannupa Hanska Luger is on Moment of Truth this evening to talk about the Canadian debut of his installation, "Every One" about the crisis of murdered and missing Indigenous women, girls, trans, and queer community members. Also, Dr. Gail Kratzenberg a researcher @McMasterU has found plastic pollution is as serious a problem in the Great Lakes as it is in the ocean.
This episode of Broken Boxes Podcast presents a live stream recording by artists Christine Howard Sandoval and Cannupa Hanska Luger as they visited the Metropolitan Museum of Art's new exhibit: Art of Native America, The Charles and Valerie Diker Collection on October 7th, 2018. The two artists engaged in a live stream critique and shared the experience on social media as it was unfolding. Onsite at the Met the two artists were joined by the guest curators from the Nelson Atkins Museum Gaylord Torrence and Marjorie Alexander along with the Met's director of public programs Mari Robles. In reflecting on the experience in her social media post about the experience, Christine Howard Sandoval explains, “The museum mobilized responsively and the conversation about how the museum is FOR THE FIRST TIME starting to engage with Indigenous art is raw and honest. They have so much work to do as the major museum of art in the country!” Broken Boxes would like to acknowledge this is an audio recording of a live feed video of an experience viewing an exhibition, so it may feel a bit hard to follow along, but if you are up to it, it may be worth the journey.
This episode of Broken Boxes Podcast presents a live stream recording by artists Christine Howard Sandoval and Cannupa Hanska Luger as they visited the Metropolitan Museum of Art's new exhibit: Art of Native America, The Charles and Valerie Diker Collection on October 7th, 2018. The two artists engaged in a live stream critique and shared the experience on social media as it was unfolding. Onsite at the Met the two artists were joined by the guest curators from the Nelson Atkins Museum Gaylord Torrence and Marjorie Alexander along with the Met's director of public programs Mari Robles. In reflecting on the experience in her social media post about the experience, Christine Howard Sandoval explains, “The museum mobilized responsively and the conversation about how the museum is FOR THE FIRST TIME starting to engage with Indigenous art is raw and honest. They have so much work to do as the major museum of art in the country!” Broken Boxes would like to acknowledge this is an audio recording of a live feed video of an experience viewing an exhibition, so it may feel a bit hard to follow along, but if you are up to it, it may be worth the journey.
Artist Cannupa Hanska Luger talks with Sterlin about the art of being humble.
CreateNow team members Chloe Shelford and Anna Saldinger spoke with multi-disciplinary artist Cannupa Hanksa Luger last fall, when he was at Bennington College as part of the Visual Arts Lecture Series. Cannupa was born in North Dakota on the Standing Rock Reservation and his work engages deeply with environmental issues and complex Indigenous identities coming up against 21st century challenges.Cannupa is a storyteller and he uses many media including ceramics, steel, fiber, sound, and video, along with other less traditional recycled materials for his work.During the Standing Rock Protests, Cannupa launched The Mirror Shield Project, which invited members of the public to create lightweight mirror shields for water protectors, to great success. Cannupa Hanska Luger works from New Mexico and has work in the permanent collections of The North America Native Museum Zürich,Switzerland; The Denver Art Museum, Denver, CO; The Museum of Contemporary Native Arts Santa Fe, NM; and The Fred Jones Jr. Museum of Art Norman, OK. Cannupa's website. See acast.com/privacy for privacy and opt-out information.
Broken Boxes is very excited to launch a new podcast series titled INTERSECTION. Our first episode of the INTERSECTION series features Gitxaala/British (Tsimshian) artist, writer, curator and media producer Leena Minifie in conversation with Mandan/Hidatsa/Arikara/Lakota multidisciplinary artist Cannupa Hanska Luger. Their conversation travels through space and time, weaving together topics such as identity politics, the pan-indigenous conundrum, 'the original poison', IAIA, the center of the universe, call out culture, stereotypes, the Roman empire, romanticism, technology worship, decolonization versus re-indigenizing and responsibility. Broken Boxes is so excited to launch this unfiltered, honest, hilarious, serious, exciting and insightful project on the podcast! Many thanks to Leena Minifie and Cannupa Hanska Luger for letting Broken Boxes record you talking story over tea and coffee to be shared out into the world. And shout out to fellow podcaster Sterlin Harjo of The Cuts Podcast for having a hand at inspiring this series launch. INTERSECTION series approaches open ended conversation between various visiting artists and multidisciplinary artist Cannupa Hanska Luger. The series is meant to engage our pointS of intersection and provoke critical thought as we process existence. There is no specified format and the conversation is guided simply by what is on the artists minds. The series invites us to examine humanity and the universe through radical, complicated and variant perspectives overlapping in one moment in time. A conversation among humans... Music Featured on this podcast: Weaves: Scream ft. Tanya Tagaq
Broken Boxes is very excited to launch a new podcast series titled INTERSECTION. Our first episode of the INTERSECTION series features Gitxaala/British (Tsimshian) artist, writer, curator and media producer Leena Minifie in conversation with Mandan/Hidatsa/Arikara/Lakota multidisciplinary artist Cannupa Hanska Luger. Their conversation travels through space and time, weaving together topics such as identity politics, the pan-indigenous conundrum, 'the original poison', IAIA, the center of the universe, call out culture, stereotypes, the Roman empire, romanticism, technology worship, decolonization versus re-indigenizing and responsibility. Broken Boxes is so excited to launch this unfiltered, honest, hilarious, serious, exciting and insightful project on the podcast! Many thanks to Leena Minifie and Cannupa Hanska Luger for letting Broken Boxes record you talking story over tea and coffee to be shared out into the world. And shout out to fellow podcaster Sterlin Harjo of The Cuts Podcast for having a hand at inspiring this series launch. INTERSECTION series approaches open ended conversation between various visiting artists and multidisciplinary artist Cannupa Hanska Luger. The series is meant to engage our pointS of intersection and provoke critical thought as we process existence. There is no specified format and the conversation is guided simply by what is on the artists minds. The series invites us to examine humanity and the universe through radical, complicated and variant perspectives overlapping in one moment in time. A conversation among humans... Music Featured on this podcast: Weaves: Scream ft. Tanya Tagaq
For the past year, the Dakota Access Pipeline (ETP) in collaboration with the North Dakota State police force have been trampling upon the constitutional, human, and civil rights of his people. In this episode Cannupa shares through childhood memory, what Standing Rock means to him as a place where he simply goes home to. He also shares the story behind the namesake Standing Rock and the complexity of all Indigenous story which is overlooked in our popular culture. Cannupa speaks about the organic nature of the water protector camps, the evolution of the movement and the relationship of the Standing Rock Sioux Tribe to this now global movement. Cannupa also tells us about his experience as artist and water protector, participating in what ways he is able to create collaboration and empowerment for his people through artwork and actions such as the mirror shield project.
In the Oceti Sakowin Camp at Stadning Rock, North Dakota, there is a prominent art tent area. Dozens of artists and volunteers are silkscreening and producing work among the thousands of waterprotectors and their allies, which have arrived to stop the Dakota Access Pipeline from crossing the Missouri River. Among those artists is Standing Rock native Cannupa Hanska Luger and three of his friends, Jesse Hazelit, Raven Chacon, and Dylan McLaughlin. Hyperallergic spoke to the friends to discuss what is going on at Standing Rock and what role art plays.
For the past year, the Dakota Access Pipeline (ETP) in collaboration with the North Dakota State police force have been trampling upon the constitutional, human, and civil rights of his people. In this episode Cannupa shares through childhood memory, what Standing Rock means to him as a place where he simply goes home to. He also shares the story behind the namesake Standing Rock and the complexity of all Indigenous story which is overlooked in our popular culture. Cannupa speaks about the organic nature of the water protector camps, the evolution of the movement and the relationship of the Standing Rock Sioux Tribe to this now global movement. Cannupa also tells us about his experience as artist and water protector, participating in what ways he is able to create collaboration and empowerment for his people through artwork and actions such as the mirror shield project.
When this podcast project first began, one of the first artists interviewed was Cannupa Hanska Luger (Episode 2). The episode was an insight into artist Cannupa Hanska's past and how he came to practice his art as we see it evolve today. Now as this podcast develops further, we loop back around and touch base with Cannupa Hanska again to hear about where his art is now. In this episode we will dig deeper into the context of Cannupa's current work, and hear his perspective on being a working artist today. "Every piece continues to take a lifetime to create, so that life itself is a material. And so, art should represent this moment in time, an interpretation of right now. What is created is an attempt to be as honest as possible. Truth is static and fragile. Honesty and sincerity has plasticity. " -Cannupa Hanska
When this podcast project first began, one of the first artists interviewed was Cannupa Hanska Luger (Episode 2). The episode was an insight into artist Cannupa Hanska's past and how he came to practice his art as we see it evolve today. Now as this podcast develops further, we loop back around and touch base with Cannupa Hanska again to hear about where his art is now. In this episode we will dig deeper into the context of Cannupa's current work, and hear his perspective on being a working artist today. "Every piece continues to take a lifetime to create, so that life itself is a material. And so, art should represent this moment in time, an interpretation of right now. What is created is an attempt to be as honest as possible. Truth is static and fragile. Honesty and sincerity has plasticity. " -Cannupa Hanska
In this episode I talk with ceramic and mixed media artist Cannupa Hanska (Mandan/Hidatsa/Arikara/Lakota). Cannupa Hanska is from Standing Rock Reservation, North Dakota, and in this interview we learn about his life and process, beginning with growing up on a ranch, being free to explore his imagination without constraint. He also talks about being the son of an artist mother, about attending art school, being 'art trash', and the shift of becoming a father. Cannupa also explains his process and we learn to further appreciate the dynamic relationship between the artist and the clay. Music interludes DJ'd by Shark Siren. Song: The Humble, provided by The Wake Singers
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