Podcast appearances and mentions of nicholas galanin

My guest this week is multidisciplinary artist Nicholas Galanin.Nicholas is from the sitka tribe of Alaska and has exhibited his works all over the world, from the Whitney Museum and Museum of Modern Art, to the Abu Dhabi Biennial. His work challenges stereotypes of indigenous art while also addressing social and environmental issues.He recently received the Don Tyson Prize for outstanding achievement in American Art from the Crystal Bridges museum.Nicholas and I discuss life in Sitka, embracing cultural heritage, his incredible Never Forget series, fashion brands leveraging indigenous designs and more.*Sponsored by Bezel - the trusted marketplace for buying and selling your next luxury watch 

Painting US Empire: Nineteenth-Century Art and Its Legacies (University of Chicago Press, 2025) by Dr. Maggie Cao is the first book to offer a synthetic account of art and US imperialism around the globe in the nineteenth century. In this work, art historian Dr. Cao crafts a nuanced portrait of nineteenth-century US painters' complicity with and resistance to ascendant US imperialism, offering eye-opening readings of canonical works, landscapes of polar expeditions and tropical tourism, still lifes of imported goods, genre paintings, and ethnographic portraiture. Revealing how the US empire was “hidden in plain sight” in the art of this period, Dr. Cao examines artists including Frederic Edwin Church and Winslow Homer who championed and expressed ambivalence toward the colonial project. She also tackles the legacy of US imperialism, examining Euro-American painters of the past alongside global artists of the present. Pairing each chapter with reflections on works by contemporary anticolonial artists including Tavares Strachan, Nicholas Galanin, and Yuki Kihara, Dr. Cao addresses important contemporary questions around representation, colonialism, and indigeneity. This book foregrounds an underacknowledged topic in the study of nineteenth-century US art and illuminates the ongoing ecological and economic effects of the US empire. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Journey with us into the colorful and thought-provoking world of Native American art with our special guest, Laura J. Allen. As the Curator of Native American Art at the Montclair Art Museum, Laura shares her fascinating journey from the American Museum of Natural History to her current role, where she spearheads groundbreaking projects. She sheds light on the collaborative vision behind the reinstallation of MAM's Native American Art Collection, crafted in close consultation with a Native American Art Advisory Council. Laura's passion for an artist-focused curatorial approach shines through in her work on exhibitions like Meryl McMaster Chronologies and From My Home to Yours, where themes of time disruption and inclusivity take center stage.We unravel the layers of creativity and cultural dialogue in exhibitions that merge historical and contemporary Native art forms, challenging colonial narratives and celebrating Indigenous knowledge. The episode features the thoughtful works of artists such as Holly Wilson and Nicholas Galanin, who engage with historical collections to critique misattributions and colonial suppression. Through powerful site-specific installations and narratives of dispossession and reconnection, the exhibitions aim to transform the museum space, fostering a dialogue between the past and present. With insights from creatives like Sine Austro and Sebastian Aubin, we explore how weaving serves as both a metaphor and a tool for storytelling in these exhibitions.Looking forward, the conversation also highlights the ongoing evolution of Indigenous textiles and fashion at MAM, emphasizing cultural expression and sovereignty. Laura delves into the complex process of selecting works from a vast collection while adhering to NAGPRA guidelines and collaborating with Indigenous communities. Exciting upcoming projects, such as a 2026 exhibition on Northwest Coast dress and textiles, promise to continue the museum's commitment to highlighting the transformative power of contemporary Native American art. Through these vibrant discussions, we emphasize our dedication to deepening responsibilities to Native communities and exploring the potential of future exhibitions to promote justice and environmental stewardship.

Painting US Empire: Nineteenth-Century Art and Its Legacies (University of Chicago Press, 2025) by Dr. Maggie Cao is the first book to offer a synthetic account of art and US imperialism around the globe in the nineteenth century. In this work, art historian Dr. Cao crafts a nuanced portrait of nineteenth-century US painters' complicity with and resistance to ascendant US imperialism, offering eye-opening readings of canonical works, landscapes of polar expeditions and tropical tourism, still lifes of imported goods, genre paintings, and ethnographic portraiture. Revealing how the US empire was “hidden in plain sight” in the art of this period, Dr. Cao examines artists including Frederic Edwin Church and Winslow Homer who championed and expressed ambivalence toward the colonial project. She also tackles the legacy of US imperialism, examining Euro-American painters of the past alongside global artists of the present. Pairing each chapter with reflections on works by contemporary anticolonial artists including Tavares Strachan, Nicholas Galanin, and Yuki Kihara, Dr. Cao addresses important contemporary questions around representation, colonialism, and indigeneity. This book foregrounds an underacknowledged topic in the study of nineteenth-century US art and illuminates the ongoing ecological and economic effects of the US empire. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Painting US Empire: Nineteenth-Century Art and Its Legacies (University of Chicago Press, 2025) by Dr. Maggie Cao is the first book to offer a synthetic account of art and US imperialism around the globe in the nineteenth century. In this work, art historian Dr. Cao crafts a nuanced portrait of nineteenth-century US painters' complicity with and resistance to ascendant US imperialism, offering eye-opening readings of canonical works, landscapes of polar expeditions and tropical tourism, still lifes of imported goods, genre paintings, and ethnographic portraiture. Revealing how the US empire was “hidden in plain sight” in the art of this period, Dr. Cao examines artists including Frederic Edwin Church and Winslow Homer who championed and expressed ambivalence toward the colonial project. She also tackles the legacy of US imperialism, examining Euro-American painters of the past alongside global artists of the present. Pairing each chapter with reflections on works by contemporary anticolonial artists including Tavares Strachan, Nicholas Galanin, and Yuki Kihara, Dr. Cao addresses important contemporary questions around representation, colonialism, and indigeneity. This book foregrounds an underacknowledged topic in the study of nineteenth-century US art and illuminates the ongoing ecological and economic effects of the US empire. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/environmental-studies

Painting US Empire: Nineteenth-Century Art and Its Legacies (University of Chicago Press, 2025) by Dr. Maggie Cao is the first book to offer a synthetic account of art and US imperialism around the globe in the nineteenth century. In this work, art historian Dr. Cao crafts a nuanced portrait of nineteenth-century US painters' complicity with and resistance to ascendant US imperialism, offering eye-opening readings of canonical works, landscapes of polar expeditions and tropical tourism, still lifes of imported goods, genre paintings, and ethnographic portraiture. Revealing how the US empire was “hidden in plain sight” in the art of this period, Dr. Cao examines artists including Frederic Edwin Church and Winslow Homer who championed and expressed ambivalence toward the colonial project. She also tackles the legacy of US imperialism, examining Euro-American painters of the past alongside global artists of the present. Pairing each chapter with reflections on works by contemporary anticolonial artists including Tavares Strachan, Nicholas Galanin, and Yuki Kihara, Dr. Cao addresses important contemporary questions around representation, colonialism, and indigeneity. This book foregrounds an underacknowledged topic in the study of nineteenth-century US art and illuminates the ongoing ecological and economic effects of the US empire. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/geography

Painting US Empire: Nineteenth-Century Art and Its Legacies (University of Chicago Press, 2025) by Dr. Maggie Cao is the first book to offer a synthetic account of art and US imperialism around the globe in the nineteenth century. In this work, art historian Dr. Cao crafts a nuanced portrait of nineteenth-century US painters' complicity with and resistance to ascendant US imperialism, offering eye-opening readings of canonical works, landscapes of polar expeditions and tropical tourism, still lifes of imported goods, genre paintings, and ethnographic portraiture. Revealing how the US empire was “hidden in plain sight” in the art of this period, Dr. Cao examines artists including Frederic Edwin Church and Winslow Homer who championed and expressed ambivalence toward the colonial project. She also tackles the legacy of US imperialism, examining Euro-American painters of the past alongside global artists of the present. Pairing each chapter with reflections on works by contemporary anticolonial artists including Tavares Strachan, Nicholas Galanin, and Yuki Kihara, Dr. Cao addresses important contemporary questions around representation, colonialism, and indigeneity. This book foregrounds an underacknowledged topic in the study of nineteenth-century US art and illuminates the ongoing ecological and economic effects of the US empire. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices

Painting US Empire: Nineteenth-Century Art and Its Legacies (University of Chicago Press, 2025) by Dr. Maggie Cao is the first book to offer a synthetic account of art and US imperialism around the globe in the nineteenth century. In this work, art historian Dr. Cao crafts a nuanced portrait of nineteenth-century US painters' complicity with and resistance to ascendant US imperialism, offering eye-opening readings of canonical works, landscapes of polar expeditions and tropical tourism, still lifes of imported goods, genre paintings, and ethnographic portraiture. Revealing how the US empire was “hidden in plain sight” in the art of this period, Dr. Cao examines artists including Frederic Edwin Church and Winslow Homer who championed and expressed ambivalence toward the colonial project. She also tackles the legacy of US imperialism, examining Euro-American painters of the past alongside global artists of the present. Pairing each chapter with reflections on works by contemporary anticolonial artists including Tavares Strachan, Nicholas Galanin, and Yuki Kihara, Dr. Cao addresses important contemporary questions around representation, colonialism, and indigeneity. This book foregrounds an underacknowledged topic in the study of nineteenth-century US art and illuminates the ongoing ecological and economic effects of the US empire. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Painting US Empire: Nineteenth-Century Art and Its Legacies (University of Chicago Press, 2025) by Dr. Maggie Cao is the first book to offer a synthetic account of art and US imperialism around the globe in the nineteenth century. In this work, art historian Dr. Cao crafts a nuanced portrait of nineteenth-century US painters' complicity with and resistance to ascendant US imperialism, offering eye-opening readings of canonical works, landscapes of polar expeditions and tropical tourism, still lifes of imported goods, genre paintings, and ethnographic portraiture. Revealing how the US empire was “hidden in plain sight” in the art of this period, Dr. Cao examines artists including Frederic Edwin Church and Winslow Homer who championed and expressed ambivalence toward the colonial project. She also tackles the legacy of US imperialism, examining Euro-American painters of the past alongside global artists of the present. Pairing each chapter with reflections on works by contemporary anticolonial artists including Tavares Strachan, Nicholas Galanin, and Yuki Kihara, Dr. Cao addresses important contemporary questions around representation, colonialism, and indigeneity. This book foregrounds an underacknowledged topic in the study of nineteenth-century US art and illuminates the ongoing ecological and economic effects of the US empire. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Nicholas Galanin’s “Seletega” at Faena Beach in Miami Beach is a site-specific art installation that recalls the Spanish galleons of ...

When the raw emotion of our heritage bleeds into the canvas of our present, the art that emerges is nothing short of mesmerizing. That's what we discovered as we sat down with Nicholas Galanin, an artist whose Tlingit and Unanga roots are as integral to his work as the paint on his palette. His story, a testament to the enduring spirit of indigenous peoples, weaves through his art, capturing hearts and minds along the way. Nicholas delves into the profound relationship between his cultural identity and his artistic expression, offering listeners a window into his soul-stirring project, "In Every Language there's Land." His perspective on material selection, not just as a choice but as a statement, lays bare the entangled history of colonialism and the resilience of native narratives.The podcast's rhythm changes as we explore the multifaceted life of Nicholas, a man juggling the callings of both artist and father. With his children as his muse, he shares the delicate dance of managing various creative pursuits while maintaining the sacred essence of his family's artistic lineage. Whether he's crafting visual masterpieces, composing music with his band the Outseen, or dreaming up scores for the silver screen, Nicholas's journey is a testament to the power of evolution in art. And as he looks to the future with plans for exhibitions and a yearning for new mediums that speak to him, we're reminded that every stroke, every note, is a chapter in his ongoing story, one that continues to unfold with passion and purpose. Join us for this intimate exploration of art, family, and the enduring echo of ancestral voices.

Since its inception in 1977, Public Art Fund has presented more than 500 artists' exhibitions and projects at sites throughout New York City.  In this episode, Susan K. Freedman, the president of Public Art Fund, presents current exhibitions including Nicholas Galanin's impressive new sculpture “In Every Language There Is Land/En cada lengua hay una Tierra” at Brooklyn Bridge Park, art installations at La Guardia Airport Terminal B by Jeppe Hein. Sabine Hornig, Laura Owens and Sarah Sze, at Newark Liberty International Airport Terminal A by Karyn Oliver and Layqa Nuna Yawar, as well as art installations at the Moynihan Train Hall by Stan Douglas, Elmgreen & Dragset, and Kehinde Wiley. Public Art Fund is also behind the late Phyllida Barlow's final series of large-scale sculptures, PRANK, in City Hall Park, that opened in the beginning of June. Public Art Fund believes in free access to great contemporary art for all, that artists are an essential part of our civic dialogue, and that art has the power to ignite conversation among different people, to open hearts and minds, and to help shape our collective future.   Freedman currently serves on the board of the Municipal Art Society, and as vice chair of the board for the City Parks Foundation. She is a recipient of the 1999 Associates of the Art Commission Annual Award and was honored with the 2005 Municipal Art Society's Evangeline Blashfield Award for her contributions to New York City's urban landscape. Photo by Kelly Taub  

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In episode 9, we had a great time chatting with Nicholas Galanin and hearing about his artistic and musical endeavors including carving totem poles and being part of this year's Awk Rock Indigenous Music Festival! Hope you enjoy!

Examining the complexities of contemporary Indigenous identity, culture, and representation, Nicholas Galanin works from his experience as a Tlingit and Unangax̂ artist. Embedding incisive observation and reflection into his oftentimes provocative work, he aims to redress the widespread misappropriation of Indigenous visual culture, the impact of colonialism, as well as collective amnesia. Galanin reclaims narrative and creative agency, while demonstrating contemporary Indigenous art as a continually evolving practice. As he describes: “My process of creation is a constant pursuit of freedom and vision for the present and future. I use my work to explore adaptation, resilience, survival, dream, memory, cultural resurgence, and connection and disconnection to the land.” Galanin unites both traditional and contemporary practices, creating a synthesis of elements in order to navigate “the politics of cultural representation.” Speaking through multiple visual, sonic, and tactile languages, his concepts determine his processes, which include sculpture, installation, photography, video, performance, and textile-based work. This contemporary practice builds upon an Indigenous artistic continuum while celebrating the culture and its people; Galanin contributes urgent criticality and vision through resonant and layered works. The online viewing room at Peter Blum can be seen here. Nicholas Galanin (b. 1979, Sitka, Alaska) earned a BFA at London Guildhall University (2003), an MFA at Massey University, Palmerston North, New Zealand (2007), and apprenticed with master carvers and jewelers. He currently lives and works with his family in Sitka, Alaska. Galanin participated in Desert X, Palm Springs (2021); Biennale of Sydney (2020); Venice Biennale (2017); Whitney Biennial (2019); and Honolulu Biennial (2019). Galanin's work is in permanent collections including The Museum of Modern Art, New York; Whitney Museum of American Art, New York; Philadelphia Museum of Art; Art Institute of Chicago; The Phillips Collection, Washington, D.C.; Art Bridges, Bentonville, AR; Detroit Institute of Arts; The National Gallery of Canada, Ottawa; The Museum of Fine Arts, Houston; Denver Art Museum; Los Angeles County Museum of Art; Princeton University among others. He received an award from American Academy of Arts and Letters (2020) and received a Soros Arts Fellowship (2020). Loom, 2022 prefab children's school desks and chairs with graphite and pencil carving, 100 x 83 x 54 inches (254 x 210.8 x 137.2 cm) World Clock, 2022 monotype on paper and accumulating stacks of The New York Times installation: dimensions variable monotype: 30 x 22 1/2 inches (76.2 x 57.1 cm) The New York Times: 11 1/4 x 12 inches, each

What do artists think about when making huge public art? Lindy Lee is making the most expensive work commissioned by the NGA, and Judy Watson's bara will grace Sydney's harbour with a giant Gadigal fish hook. Then, the US art lab addressing the problem of confederate monuments to racist causes... and Indigenous artists Julie Gough, Nicholas Galanin and Yhonnie Scarce on Australia's own colonial memorialising.

What do artists think about when making huge public art? Lindy Lee is making the most expensive work commissioned by the NGA, and Judy Watson's bara will grace Sydney's harbour with a giant Gadigal fish hook. Then, the US art lab addressing the problem of confederate monuments to racist causes... and Indigenous artists Julie Gough, Nicholas Galanin and Yhonnie Scarce on Australia's own colonial memorialising.

What do artists think about when making huge public art? Lindy Lee is making the most expensive work commissioned by the NGA, and Judy Watson's bara will grace Sydney's harbour with a giant Gadigal fish hook.Then, the US art lab addressing the problem of confederate monuments to racist causes... and Indigenous artists Julie Gough, Nicholas Galanin and Yhonnie Scarce on Australia's own colonial memorialising.

What do artists think about when making huge public art? Lindy Lee is making the most expensive work commissioned by the NGA, and Judy Watson's bara will grace Sydney's harbour with a giant Gadigal fish hook. Then, the US art lab addressing the problem of confederate monuments to racist causes... and Indigenous artists Julie Gough, Nicholas Galanin and Yhonnie Scarce on Australia's own colonial memorialising.

Nicholas Galanin is the force behind musical projects Ya Tseen, Indian Agent, and Silver Jackson. Based out of Sitka, Alaska, he creates art – both musical and physical – from and for his Tlingit community. Continuum is core to Galanin's being. Being of both Tlingit and Unangax̂ heritage, Galanin's work is concerned with serving his community and creating space for their voices, art, and culture in a world that has intentionally tried to strip it away. His collaborations as part of the Black Constellation represent an important statement of solidarity between Black and Indigenous artistic communities. In this episode, we journey with Galanin through his numerous musical projects, his HomeSkillet festival and label, and some of his various exhibits and large scale art installations, like the “Never Forget” piece that saw him placing the words “INDIAN LAND” in Palm Springs in the style of the Hollywood sign. Galanin's work is a mirror to the past while reflecting toward the future. Listen to a playlist of music from the episode and read the transcript on KEXP.org. Support the show: https://www.kexp.org/fresh **If you're in the Seattle area or want to make the trip, you can join KEXP at Clock-Out Lounge on Friday, May 27 for "Fresh Off The Spaceship Live." The event will feature performances from Black Constellation artists Shabazz Palaces, Stas THEE Boss, Porter Ray and more. You can find more information on KEXP.org and buy tickets here. Support the show: https://www.kexp.org/fresh See omnystudio.com/listener for privacy information.

Episode No. 540 features curator Judith W. Mann and artist Nicholas Galanin. Mann is the curator of "Paintings on Stone: Science and the Sacred, 1530-1800," which is on view at the Saint Louis Art Museum through May 15. (Mann was assisted by Andrea Miller.) The exhibition, which includes more than 70 works by 58 artists, is the first examination of the pan-European practice of painting on stones such as lapis lazuli, slate and marble. The exhibition is accompanied by a terrific catalogue. Indiebound and Amazon offer it for about $50. On April 7-8 SLAM will be presenting a virtual symposium that explores painting on stone and the role that stone played in the meaning of individual artworks. The symposium is free but requires Zoom registration. Nicholas Galanin's work is on view in "The Scene Changes: Sculpture from the Sheldon's Collection" at the Sheldon Museum of Art at the University of Nebraska, Lincoln. The Sheldon acquired Galanin's 2012 The American Dream is Alie and Well in 2020. Galanin's work has been the subject of solo shows at Davidson College, the BYU Museum of Art, the Montclair Art Museum, the Missoula Art Museum, the Anchorage Museum and more. In 2018 The Heard Museum in Phoenix presented a survey of Galanin's career. Later this year the Weatherspoon Art Museum at the University of North Carolina Greensboro and the Crystal Bridges Museum of American Art in Bentonville, Ark. will present exhibitions of Galanin's work. Galanin is a Tlingit and Unangax̂ artist whose work examines contemporary Indigenous identity, culture and representation and interrogates the routine misappropriation of Native culture, colonialism and collective amnesia.

The intelligent and ever-resourceful Brian Seguin returns to conclude our discussion on who and what is included in a community. How do you feel belonging in your community? Do you feel at home where you are? Who or what makes you feel at home; and how do those distinctions affect your perspective on who or what a community is composed of? Satish Kumar says, "We have to shift our attitude of ownership of nature to relationship with nature. The moment you change from ownership to relationship, you create a sense of the sacred." The same connections apply with our local coexisting human beings. Going Zero Waste article - "Which is Better for the Environment: Glass or Plastic?"Book 1 - Send a Runner: A Navajo Honors the Long WalkBook 2 - Under a White Sky: The Nature of the FutureDocumentary 1 - Tar Creek by Bullfrog FilmsDocumentary 2 - Source to Sea: The Columbia River SwimCheck out the incredible art installations by Nicholas Galanin.Thank you so much for listening!Love yourselves, friends!

Originally published in 2006, Art of the Northwest Coast offers an expansive history of this great tradition, from the earliest known works to those made at the beginning of the twenty-first century. Although non-Natives often claimed that First Nations cultures were disappearing, Northwest Coast Native people continued to make art during the painful era of colonization, often subtly expressing resistance to their oppressors and demonstrating the resilience of their heritage. Integrating the art's development with historical events following contact with Euro-Americans sheds light on the creativity of artists as they appropriated and transformed foreign elements into uniquely Indigenous statements. A new chapter discusses contemporary artists, including Marianne Nicholson, Nicholas Galanin, Lawrence Paul Yuxweluptun, and Sonny Assu, who address pressing issues ranging from Indigenous sovereignty and destruction of the environment to the power of Native women and efforts to work with non-Natives to heal the wounds of racism and discrimination. Kirstin L. Ellsworth holds a Ph.D. in the History of Art from Indiana University and is Associate Professor of Art History at California State University Dominguez Hills. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/native-american-studies

Originally published in 2006, Art of the Northwest Coast offers an expansive history of this great tradition, from the earliest known works to those made at the beginning of the twenty-first century. Although non-Natives often claimed that First Nations cultures were disappearing, Northwest Coast Native people continued to make art during the painful era of colonization, often subtly expressing resistance to their oppressors and demonstrating the resilience of their heritage. Integrating the art's development with historical events following contact with Euro-Americans sheds light on the creativity of artists as they appropriated and transformed foreign elements into uniquely Indigenous statements. A new chapter discusses contemporary artists, including Marianne Nicholson, Nicholas Galanin, Lawrence Paul Yuxweluptun, and Sonny Assu, who address pressing issues ranging from Indigenous sovereignty and destruction of the environment to the power of Native women and efforts to work with non-Natives to heal the wounds of racism and discrimination. Kirstin L. Ellsworth holds a Ph.D. in the History of Art from Indiana University and is Associate Professor of Art History at California State University Dominguez Hills. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Originally published in 2006, Art of the Northwest Coast offers an expansive history of this great tradition, from the earliest known works to those made at the beginning of the twenty-first century. Although non-Natives often claimed that First Nations cultures were disappearing, Northwest Coast Native people continued to make art during the painful era of colonization, often subtly expressing resistance to their oppressors and demonstrating the resilience of their heritage. Integrating the art's development with historical events following contact with Euro-Americans sheds light on the creativity of artists as they appropriated and transformed foreign elements into uniquely Indigenous statements. A new chapter discusses contemporary artists, including Marianne Nicholson, Nicholas Galanin, Lawrence Paul Yuxweluptun, and Sonny Assu, who address pressing issues ranging from Indigenous sovereignty and destruction of the environment to the power of Native women and efforts to work with non-Natives to heal the wounds of racism and discrimination. Kirstin L. Ellsworth holds a Ph.D. in the History of Art from Indiana University and is Associate Professor of Art History at California State University Dominguez Hills. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Originally published in 2006, Art of the Northwest Coast offers an expansive history of this great tradition, from the earliest known works to those made at the beginning of the twenty-first century. Although non-Natives often claimed that First Nations cultures were disappearing, Northwest Coast Native people continued to make art during the painful era of colonization, often subtly expressing resistance to their oppressors and demonstrating the resilience of their heritage. Integrating the art's development with historical events following contact with Euro-Americans sheds light on the creativity of artists as they appropriated and transformed foreign elements into uniquely Indigenous statements. A new chapter discusses contemporary artists, including Marianne Nicholson, Nicholas Galanin, Lawrence Paul Yuxweluptun, and Sonny Assu, who address pressing issues ranging from Indigenous sovereignty and destruction of the environment to the power of Native women and efforts to work with non-Natives to heal the wounds of racism and discrimination. Kirstin L. Ellsworth holds a Ph.D. in the History of Art from Indiana University and is Associate Professor of Art History at California State University Dominguez Hills. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Originally published in 2006, Art of the Northwest Coast offers an expansive history of this great tradition, from the earliest known works to those made at the beginning of the twenty-first century. Although non-Natives often claimed that First Nations cultures were disappearing, Northwest Coast Native people continued to make art during the painful era of colonization, often subtly expressing resistance to their oppressors and demonstrating the resilience of their heritage. Integrating the art's development with historical events following contact with Euro-Americans sheds light on the creativity of artists as they appropriated and transformed foreign elements into uniquely Indigenous statements. A new chapter discusses contemporary artists, including Marianne Nicholson, Nicholas Galanin, Lawrence Paul Yuxweluptun, and Sonny Assu, who address pressing issues ranging from Indigenous sovereignty and destruction of the environment to the power of Native women and efforts to work with non-Natives to heal the wounds of racism and discrimination. Kirstin L. Ellsworth holds a Ph.D. in the History of Art from Indiana University and is Associate Professor of Art History at California State University Dominguez Hills. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-west

Originally published in 2006, Art of the Northwest Coast offers an expansive history of this great tradition, from the earliest known works to those made at the beginning of the twenty-first century. Although non-Natives often claimed that First Nations cultures were disappearing, Northwest Coast Native people continued to make art during the painful era of colonization, often subtly expressing resistance to their oppressors and demonstrating the resilience of their heritage. Integrating the art's development with historical events following contact with Euro-Americans sheds light on the creativity of artists as they appropriated and transformed foreign elements into uniquely Indigenous statements. A new chapter discusses contemporary artists, including Marianne Nicholson, Nicholas Galanin, Lawrence Paul Yuxweluptun, and Sonny Assu, who address pressing issues ranging from Indigenous sovereignty and destruction of the environment to the power of Native women and efforts to work with non-Natives to heal the wounds of racism and discrimination. Kirstin L. Ellsworth holds a Ph.D. in the History of Art from Indiana University and is Associate Professor of Art History at California State University Dominguez Hills. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

What do artists think about when making huge public art? Lindy Lee is making the most expensive work commissioned by the NGA, and Judy Watson's bara will grace Sydney's harbour with a giant Gadigal fish hook. Then, the US art lab addressing the problem of confederate monuments to racist causes... and Indigenous artists Julie Gough, Nicholas Galanin and Yhonnie Scarce on Australia's own colonial memorialising.

What do artists think about when making huge public art? Lindy Lee is making the most expensive work commissioned by the NGA, and Judy Watson's bara will grace Sydney's harbour with a giant Gadigal fish hook. Then, the US art lab addressing the problem of confederate monuments to racist causes... and Indigenous artists Julie Gough, Nicholas Galanin and Yhonnie Scarce on Australia's own colonial memorialising.

What do artists think about when making huge public art? Lindy Lee is making the most expensive work commissioned by the NGA, and Judy Watson's bara will grace Sydney's harbour with a giant Gadigal fish hook. Then, the US art lab addressing the problem of confederate monuments to racist causes... and Indigenous artists Julie Gough, Nicholas Galanin and Yhonnie Scarce on Australia's own colonial memorialising.

What do artists think about when making huge public art? Lindy Lee is making the most expensive work commissioned by the NGA, and Judy Watson's bara will grace Sydney's harbour with a giant Gadigal fish hook.Then, the US art lab addressing the problem of confederate monuments to racist causes... and Indigenous artists Julie Gough, Nicholas Galanin and Yhonnie Scarce on Australia's own colonial memorialising.

Activist, thinker, contemporary artist, and musician Nicholas Galanin entwines his experience as an Alaskan indigenous person and passion for social and environmental justice with falling in love and the birth of a child for his debut album as Ya Tseen. Titled Indian Yard, the record is a collaboration between himself and the many artists that see Galanin as a friend including Otis Calvin III (who you might know as OC Notes), Benjamin Verdoes, Shabazz Palaces, Nick Hakim, fellow Indigenous Alaskan singer and songwriter Qacung, and Alaska's biggest rock stars Portugal. The Man. Recorded 07/05/2021. Knives Close the Distance A Feeling Undefined Light the Torch At Tugáni Watch the full Live on KEXP session on YouTube Support the show: https://www.kexp.org/donate See omnystudio.com/listener for privacy information.

Activist, thinker, contemporary artist, and musician Nicholas Galanin entwines his experience as an Alaskan indigenous person and passion for social and environmental justice with falling in love and the birth of a child for his debut album as Ya Tseen. Titled Indian Yard, the record is a collaboration between himself and the many artists that see Galanin as a friend including Otis Calvin III (who you might know as OC Notes), Benjamin Verdoes, Shabazz Palaces, Nick Hakim, fellow Indigenous Alaskan singer and songwriter Qacung, and Alaska's biggest rock stars Portugal. The Man. Recorded 07/05/2021. Knives Close the Distance A Feeling Undefined Light the Torch At Tugáni Watch the full Live on KEXP session on YouTube Support the show: https://www.kexp.org/donate See omnystudio.com/listener for privacy information.

Ya Tseen - "Knives (feat. Portugal. The Man)" from the 2021 album Indian Yard on Sub Pop. Originally from Sheet'ka (Sitka, Alaska), artist Nicholas Galanin brings the influence of his Tlingit and Unangax̂ heritage to his spacey dance pop. Under the name Ya Tseen (which simultaneously translates to “be alive” and references his Tlingit name Yeil Ya Tseen), he uses his music to advocate for "Indigenous sovereignty, racial, social, and environmental justice, for present, and future generations." Today's Song of the Day is not about weaponry, but surrender. In a press release, Galanin shares, "“Knives is a love song about softening a calloused heart and experiencing the edge of magnetic desire, romantic connection, vulnerability, and risk that love opens us up to.” The song features guest vocals from John Baldwin Gourley of fellow Alaska-formed band Portugal. the Man, who he considers "friends and allies for social and environmental justice." Read the full post on KEXP.org Support the show: https://www.kexp.org/donate See omnystudio.com/listener for privacy information.

Following strong outcry over a number of loopholes and potential red flags, the San Diego City Council's Public Safety & Land Use Committee has agreed to send its new ordinance on police practices back to the drawing board. Plus, while early pandemic predictions of a tsunami of evictions seem unlikely, advocates are worried that there could still be a steady stream. And this weekend in the arts: Kelsey Brookes and Nicholas Galanin at Quint, drag artist Jaye Piper Rosewell, a City Heights music festival, and outdoor music at The Old Globe.

À mâmawi musique cette semaine, Moe nous présente Nicholas Galanin, qui a produit des oeuvres sous différents noms d'artiste, dont le plus récent est Ya Tseen. Accompagné d'une panoplie de collaborateurs, l'artiste multidisciplinaire d'Alaska aux origines tlingit et unangax̂ explore une musique électronique sensuelle aux relents de hip-hop sur son plus récent album « Indian Yard ». Chronique réalisée avec Moon M. O, assistant•e à la recherche.

Indien dʹAlaska, lʹartiste Nicholas Galanin vient de sortir un album totalement inclassable intitulé " Indian Yard ". Une œuvre ample et colorée entre hip hop, électronique et rock psychédélique, qui questionne très directement le pouvoir blanc aux Etats-Unis. Une chronique de Michel Masserey

"Indian Yard", das Debütalbum von Ya Tseen wird morgen erscheinen. Der Künstler heißt eigentlich Nicholas Galanin und wohnt in Alaska. Nicholas Galanin macht schon länger Musik, aber sein Projekt Ya Tseen ist ganz frisch. Auf dem Album mixt Ya Tseen Electronic mit Indiepop und Hip Hop. Die Gästeliste reicht von Portugal The Man, über Shabazz Palace bis hin zu Nick Hakim. "Indian Yard" ist ein sehr abwechslungsreiches Album geworden, dass durch die Gäste immer wieder Überraschungen bereit hält und eine klare Botschaft gegen Rassismus und Hass aussendet.

Over the last 3 years, Nicholas Galanin and Otis Calvin III have been making Indian Yard, the debut record from the project Ya Tseen on Sub Pop records.  We hear how the two veteran collaborators made the record both remotely and in person,  the importance of both processes and why trust, generosity and patience made the project flow.  They also discuss why "back to normal" may not be a good thing for everyone and why we need to take a break from  the internet and engage in in-person as soon as possible.  Music by Ya Tseen and Joe PlummerEpisode sponsored by Izotope, Izotope.com and Caddis, Caddislife.com

Conspiracy and mystery make for ripe subjects, and this interview with Lex Noteboom, creator of The Deca Tapes, has it all! Join Lex and Ely as they discuss European bike trips, inspiration for The Deca Tapes, and venture into... the spoiler zone. Like what you hear? Us too. You can support The Deca Tapes on Patreon. Learn more about how to support Radio Drama Revival on our website. This episode of Radio Drama Revival was recorded in the unceded territory of the Kalapuya people, the Clatskanie Indian Tribe, the Cowlitz Indian Tribe, and the Atfalati tribe. Colonizers named this place Beaverton, Oregon. If you are looking for ways to support or donate to Native communities, Nicholas Galanin and First Light Alaska are running a fundraiser to benefit the LandBack movement. All funds raised go to Acquisition and Land Management Funds of the Native American Land Conservancy  (NALC), to repatriate land back to Indigenous communities. This is not about removing people from the land; this is about recognition and respect for Indiegnous sovereignty and knowledge about ecosystems, climate, and caretaking of the land. You can donate to this initiative at https://www.gofundme.com/f/landback.

My interview with Tlingit/Unangax̂ artist, musician, and founder of HomeSkillet Records out of Sitka, Alaska, Nicholas Galanin. Nicholas (Yéil Ya-Tseen) shares his experiences with family during covid, his new album in progress, and collaborating remotely. We also discuss the theme of Indigenous erasure in his art and the album designs for both his label and his band Indian Agent––––––Support the show (https://www.venmo.com/Clarita-Hinojosa)

"Culture cannot be contained as it unfolds. My art enters this stream at many different points, looking backwards, looking forwards, generating its own sound and motion. I am inspired by generations of Tlingit & Unangax̂ creativity and contribute to this wealthy conversation through active curiosity. There is no room in this exploration for the tired prescriptions of the "Indian Art World" and its institutions. Through creating I assert my freedom. Concepts drive my medium. I draw upon a wide range of indigenous technologies and global materials when exploring an idea. Adaptation and resistance, lies and exaggeration, dreams, memories and poetic views of daily life--these themes recur in my work, taking form through sound, texture, and image. Inert objects spring back to life; kitsch is reclaimed as cultural renewal; dancers merge ritual and rap. I am most comfortable not knowing what form my next idea will take, a boundless creative path of concept- based motion." - Nicholas Galanin