A Museum Without Walls Take A Virtual Tour Of The World’s Great Art Museums

If you pointed out galleries in Chicago to me as details to do when I was younger it wouldn’t have had an interest me. Since when I was a child I was never ever exceptionally fond of visiting galleries, it was regularly info that we did however it was often really boring for me.

That altered when I stayed in University, and also I had the opportunity to view these large spectacular galleries in Chicago. They are merely superior, you can view a lot of culture, from the previous and already existing in addition to some also inform you just what’s being set up for the future, it’s simply phenomenal! These cover everything from scientific research, society, fine art, under the water, previous history as well as more. Take a look potentially you’re like me, this made it makes many things come alive that I would certainly never ever believed a lot regarding prior to they’re simply impressive.

Right here is a listing of terrific galleries in Chicago:

1. The Topic Gallery: This fantastic gallery has the largest most full T-Rex called Sue, plus terrific exhibitions from worldwide. 10s of thousands of historical artefacts remain in this gallery making it worth a see.

2. The Shedd Aquarium: If you have actually ever before wondered about simply exactly what life would absolutely look like underwater this gallery literally has groups of water animals from around the globe from the oceans, to the tropical forest. Hang out below and view the world like you haven’t in the previous. It’s wonderful or perhaps a little frightening to see a titan tank with a shark swimming right next you.

3. The Fine art Principle or Chicago Art Gallery is close by as well as it has such an elaborate screen of many countless forms of art from around the world. This gallery is amongst a few world-renowned art galleries that have the range as well as the amount of display viewed here.

4. The Planetarium, area travel is uncovered, from the beginning to the future of room understanding and also travel. Delight in useful exhibitions as well as exceptional motion pictures that make you feel like you’re actually there.

5. The Science Gallery or the Gallery of Science and Industry is among my personal preferred, view simply what it’s truly favored to be aboard a German Submarine, ask an individual worrying DNA, find trains, boats, area taking a trip therefore a lot more. This substantial museum is an awesome area for any kind of individual captivated in science from early improvement to current and future ventures.

6. The Kid’s gallery on Navy Pier, each of the above museums have topics where children can explore as well as interact to their hearts matter, nonetheless this Children’s gallery has 3 floorings loaded with enjoyable exploration, from climbing to structure, to safety exploration, a water area and much more. I have in fact taken kids listed below and it’s tough to encourage them that it’s time to go. This is a topic your youngsters will absolutely be asking you to take them back to.

7. Social galleries in Chicago variety from the Du Sable museum of African-American Heritage, to the National Gallery Mexican Cultural Art, The Glessner Gallery on Urban life, architecture as well as more.

The above-mentioned museums are a living testimony of our tumultuous shared world history. They contain the artifacts and narratives of the societies and individuals that lived in the same geographies and breathed the same air as we do. If we reflect upon our history we can observe that human beings have learned on the whole to live in conjunction with one another despite our obvious competing and self-serving interests. As societies and civilizations have developed and learnt to live in harmony with one another they have begun to recognize the value or each other’s civilizations and collected the art, literature, armaments, clothing and everyday items that were representative of a people and culture. These items often are collected and stored in museums by curators who are specifically trained in cultural heritage management.

Museum curators, archeologists, anthropologists, sociologists, historians and the interested citizen are all people who contribute to this process of cultural conservation. Many of the previously mentioned people are considered industry experts and reference themselves as cultural heritage consultants. These individuals pride themselves in contributing to the ongoing survival of bygone eras earnestly believing that as we all understand our past we will be better able to prepare for the future. Many of our societies are highly culturally diversified consisting of so many racial, religious and cultural points of views. Oftentimes the misunderstandings and conflicts that can occur because of our different points of views can be avoided taking the time to see things from the perspective of the other part. This has certainly been the case in the continent of Australia where indigenous people have had many conflicts with the European settlers, or invaders, depending on your point of view. Aboriginal cultural awareness training is proven to be of great benefit to both individuals and corporations in resolving intercultural conflict and prejudice.

Celebrate Pride with a rare glimpse into gender bending in 18th century Naples

This Sunday, June 19, Curator of European Art Dawson Carr, Ph.D., discusses the creation and cultural context of Giuseppe Bonito’s The Femminiello, an extraordinary 18th-century depiction of cross-dressing in Naples. Purchase advance tickets online, and learn more about the painting below.

Owing to social prejudice, images of gender nonconformity are extremely rare before the twentieth century. Giuseppe Bonito’s The Femminiello (1740–60), a recently discovered painting from 18th-century Naples that is now on view in our European galleries, is a testament to that city’s exceptional, long-term acceptance of local cross dressers known as femminielli.

The term, which might be translated “little female-men,” is not derogatory, but rather an expression of endearment. These beloved members of Neapolitan society come from the poorest neighborhoods of the city and are often the youngest of many children. Coddled by their mothers, they are brought up cross dressing from an early age, yet do not try to conceal their birth sex completely. Rather than being stigmatized, they are deemed special and are appreciated as almost a third sex. Most significantly, femminielli are widely thought to bring good luck. Neapolitans take them gambling and bring newborn babies for them to hold to this day.

The painting seems to represent preparations for an evening of gambling because the young man has taken off a necklace of red coral from the Bay of Naples—also thought to bring good luck—for the femminiello to wear. Social status is reflected in the femminiello’s ruddy skin, missing teeth, and goiter, then a common condition among the poor. Historians have suggested that this type of genre painting reflects theatrical performance. Certainly, Neapolitan images often feature a grinning figure looking out to engage the viewer as an actor would do. We are invited to consider the artist’s playful inversion of traditional views of gender, which contrasts the pretty face of the young male with the femminiello’s more masculine mug.

In spite of Neapolitan acceptance, this is the only known image of a femminiello before photographs made at the end of the 19th century. We are grateful to Fred Ross and the Ross Family Fund of Equity Foundation for supporting the purchase and restoration of this rare example of gender bending in the early modern period.

Reprinted from an article in the Museum’s Portal member magazine written by Dawson Carr, Ph.D., The Janet and Richard Geary Curator of European Art.

Related Lecture
Dawson Carr will discuss the painting and its cultural context in a lecture on Sunday, June 19, at 2 p.m..

Purchase tickets

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Portland Art Museum

Blue Star Museums program offers free admission to active duty military families.

Every summer since 2010 more than 2,000 museums across the country have offered free admission to the nation’s active duty military personnel including National Guard and Reserve and their families from Memorial Day through Labor Day. The Portland Art Museum has been a proud participant since 2013. The program is collaboration between the National Endowment for the Arts, Blue Star Families, and the Department of Defense.

“The Blue Star Museums program is a fun, free activity for military families to enjoy during the summer months,” said NEA Chairman Jane Chu. “The program is also a great way for service member families to connect to their new communities, and it can provide a meaningful way for families to reconnect after deployment. The Blue Star Museums program is also a perfect way for the arts community to say ‘thank you’ to our service members and their families for the sacrifices they make on our behalf, every day.”

Check out Blue Star Families for ideas to make the most of your visit.

Way Cool Creativity Contest.

Museum Parent Toolkit.

Related Event

Kick off Blue Star Museums Summer of 2016 at our Summer Celebration on Friday, June 17. This free event features paper-making with Drew Cameron of Combat Paper, music, film, photography pop-up exhibition, food, beverages, and more! “We have been interested in hosting Combat Paper for a year now, and we are excited to work with the community to create a unique artwork together,” said organizer Sarah Lampen.

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Shop Native Fashion Now designers at the Museum Store

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From skateboard decks to pendants and scarves, Native Fashion Now accessories, gifts, and home goods from the designers featured in the exhibition are available for purchase at the Museum Store.

Celebrate street style with Jared Yazzie’s outspoken Native Americans Discovered Columbus t-shirt, Alona Edzerza’s bold hoodies, and Crystal Worl’s breathtaking skateboard decks. Straight out of the exhibition, bring these unique street fashions home with you.

Also on offer are one-of-a-kind, exquisite pieces that are works of art themselves. Designer Patricia Michaels, who was also featured on the show Project Runway, used her couture roots to create hand-painted silk scarfs as a way for everyone to be able to take her unique and personal art home with them.

Jewelry designers Wendy Ponca and Jamie Okuma use native materials, designs, and methods like intricate beading, raw leather, and abalone to create breathtaking accessories.

Shop these, plus many more extraordinary designs from Native Fashion Now artists. Plus, don’t forget, Museum members receive a 10% discount.

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Native Fashion Now Artist Spotlight: Bethany Yellowtail

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Bethany Yellowtail is this week’s Artist Spotlight as a Revisitor. Native Fashion Now’s- Revisitors use age-old designs and motifs by recreating them into modern pieces that are relevant and exciting for new generations.

Bethany Yellowtail who is originally from southern Montana had a passion for fashion since she was a young girl. She later went on to study at the Fashion Institute of Design and Merchandising (FIDM) before launching her line B.Yellowtail in 2014. B.Yellowtail is inspired by Bethany’s Apsaalooke (Crow), Tsetsehestahese, and So’taeo’o heritage. Her designs celebrate her ancestral tradition and culture while emphasizing indigenous beauty though wearable art.

“I want the people who view my work to see the faces, hear the voices of our people, and participate in an authentic story that honors our diverse nations,”

“For me, my mission is not about trying to combat cultural appropriation,” Bethany explained. “I simply want to carve out a space where an authentic voice and an authentic representation of Native America exists and thrives. If that means we’re combating cultural appropriation while just being true to ourselves, then that’s a bonus.” – Bethany Yellowtail Is Redefining Native American Fashion In A Beautifully Authentic Way (Huffington Post)

See Bethany’s work and other Revisitors at Native Fashion Now.

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Decolonizing the arts—fresh perspective from a unique conference

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Courtesy of Emerging Arts Professionals - SFBA

Courtesy of Emerging Arts Professionals – SFBA

We are thrilled to feature Museum employee Candace Kita’s report on her experience at a unique arts leadership conference with a focus on discussing racial inequities and changing dynamics at cultural organizations. The Museum encourages employees across many departments to be involved in discussions, conferences, and training such as this, as we strive to be a responsive, engaging, and relevant institution for our community.

Read an excerpt below and the full post on Candace’s blog, Candita Speaks.

Decolonizing the Arts Conference: A Report from Emergence 2016

Typically, most arts conferences that I attend do not include water-pouring ceremonies, pop-up coloring sessions, or group meditations. Yet not all conferences are created equal, and I recently participated in one that included all of those activities–and then some.

A few weeks ago, I flew from Portland to San Francisco to attend Emergence 2016, the annual convening of Emerging Arts Professionals San Francisco/Bay Area. Like many conferences, Emergence seeks to connect arts and culture workers to one another to share ideas and best practices for our field. Unlike many conferences, however, Emergence is grassroots, experimental, organized predominantly by people of color, and eager to tackle topics like revolution and justice, which were at the center of this year’s theme, “Crafting Equity, Shaping Power.”

Read the full post. 

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Bunky Echo-Hawk Live Painting Performance

Triple Threat by Bunky Echo-HawkNative Fashion Now  featured artist and Nike N7 designer Bunky Echo-Hawk will be joining the Museum on Saturday, August 13 for Miller Family Free Day. During this free event he will be creating one of his spectacular live art demonstrations. As one of the most influential contemporary Native American artists in the country, Echo-Hawk is under a lot of pressure. However, when watching him create stunning works of art in front of large audiences, he doesn’t seem phased. “I am a proactive artist,” Echo-Hawk explains in his artist statement. “There are a great number of issues facing Native Americans today, which I confront with my choice of weapons: paints, brushes, canvas, my mind and my culture.” His art acts as a vehicle for change, as many of his pieces are auctioned off to raise money for Native American nonprofits and businesses.

Echo-Hawk’s massive portraits juxtapose pop culture with Native American history. In spite of the serious messages in many of his paintings, he also enjoys using humor to connect with his audience. For example, in his piece “If Yoda Was an Indian,” he dresses the famous Star Wars character in a traditional headdress. Through his art, he hopes to relate to, and connect with people from all backgrounds in order to educate them about Native culture. Echo-Hawk has a deep connection with his Native American roots and expresses this link in every work he creates.

Nike N7 Air Max TavasIn 2011, he collaborated with Nike N7, a collection of apparel and shoes aimed at empowering Native American youth to get active and embrace their culture. The Nike N7 fund supports Native communities with grants for youth sports and activities. Nike N7 is also featured in the Motivators section of the Native Fashion Now exhibition. Echo-Hawk is part of the active force of Native Americans making a difference for their community. He pronounces, “I live to paint. I live for our culture. I live to write. I live for our youth. I live for our future. I live to exchange ideas. I live to be a voice. I live to see, in my lifetime, change for the better.”

Join us August 13th for free admission to the Museum from 10 a.m. – 5 p.m. for Miller Family Free Day. Enjoy a live art performance from Echo-Hawk beginning at 1 p.m. and other activities throughout the day.

 

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Native Fashion Now Artist Spotlight: Jared Yazzie

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Jared Yazzie is this week’s Artist Spotlight because of his commanding role as an Activator in Native Fashion Now and within the fashion industry. An Activator is an artist that uses their medium of fashion to respond to cultural events, trends, and influences by providing a more accessible way for people to wear their pieces as what we know as streetwear.

We were lucky to get to interview Jared Yazzie to better understand his insights into fashion, culture, and his mission as an artist.

Why did you pick clothing as your medium?

Yazzie: I started college with plans to become an engineer but quickly realized I had an urge to create. I especially felt the need to express myself through what I was wearing. To me, there weren’t many choices that reflected my personality, style, and culture. I had strong interest in streetwear and street art culture, that interest lead me to start creating designs on tees with stencils and fabric paint. There’s something special with creating reactions through t-shirt graphics or “wowing” people with colorful/traditional patterns, those reactions had me hooked to keep creating.

In your opinion, what is the difference between inspiration and appropriation, especially in regards to the fashion world?

Yazzie: To me, there is no excuse to create “Native-Inspired”. The Native Fashion Now exhibition is a prime example that Native people are busy and creating amazing works today and will continue to do so. The only appropriate way to honor Native people through creative works is not to use traditional designs but to collaborate with Native artists and designers. We have grown and studied our own cultures and know what is correct and appropriate to incorporate in our designs.

What is the message you want people to understand and think more about from your art?

Yazzie: I want people to see the beauty in Native culture. I am Navajo, we have a saying about how we are supposed to live and that translates to “Walk in Beauty.” Sometimes it is best to step back and observe life and what is important. Our ancestors have taught us this way and it’s up to us to find a way to pass it on to other generations.

Have you experienced any backlash or negativity surrounding your work?

Yazzie: Yes. Always. When you come with honesty and from a place with passion you are bound to receive negativeness [sic]. I am not a stranger to social media comments, shared posts rallying people against certain works, or those in-person/finger shaking/entitled talks from elders, peers, and non-Natives. I used to be very disheartened from these experiences but after being in the business for a few years I am proud that my work creates reactions. In the end, that is the purpose of art—so that makes me an artist. An artist is something I will always strive to be.

What is your greatest inspiration?

Yazzie: My inspiration comes from my family. I am so proud to be my father and mother’s son and to be a little brother to my two older brothers. My parents have survived a hard life and have created a great environment for me and my brothers. My brothers have taken my parent’s teachings and have become so successful and inspiring. I want nothing but to be like my family.

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Summer Writing Series with Write Around Portland

Join Write Around Portland for a summer full of writing adventures at the Museum. Throughout July, Write Around Portland will host workshops that explore different aspects of writing by using art for prompts and inspiration. Get ready to transform your thoughts, ideas and inspiration into works of written art.

Session 1: Native Fashion Now (July 9)

Explore identity and character development alongside this exhibition of contemporary fashion by Native American designers.

Session 2: Demian DinéYazhi’ and Kali Spitzer (July 16)

Explore identity, place and sense of belonging with the work of Native artists Demian DinéYazhi’ and Kali Spitzer.

Session 3: Leroy Setziol (July 23)

Explore setting, place and NW landscape with inspiration from this exhibition of complex wood carvings by Leroy Setziol.

Session 4: Case Work (July 30)

Explore revision and your larger artistic process via this exhibition of sculptures and drawings from the innovative architectural design firm Allied Works.

Times: 10:30am – 12:30pm

Location: Portland Art Museum, Kinney Classroom, 1219 SW Park Ave, Portland, OR 97205

Fee: $ 30 per session, $ 100 if you register for all four (Workshop fee includes all-day pass to the Museum and light refreshments.)

Learn more and register for sessions.

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Northwest Art Initiative Complete

The Museum’s Online Collections is part of the larger Library and Collections Information Department. Housed in the Crumpacker Family Library, the department is responsible for managing all of the images in the Online Collections database, responding to requests for library and archives access, assisting curators, and much more. Stay tuned for future posts about the work of this vital department as the landscape of access to art changes almost daily.

Today, we are pleased to share that on May 30th, the Museum completed a major four-year project: the Northwest Art Initiative (NWAI).

Julia Hoffman, 714 Everett Street

Julia E. Hoffman (American, 1856-1934), Painting Class Taught By Frank DuMond in Julia E. Hoffman’s Studio, 714 Everett Street, Portland, Oregon, ca. 1895 (negative), gelatin dry plate negative, Bequest of Margery Hoffman Smith, no known copyright restrictions, 83.38.201

The original goal of the NWAI was to digitize–photograph, catalog, and make accessible–our entire collection of Northwest Art, which includes more than 9,000 works of art. Phase one of the NWAI began in 2012, supported by an Art Works grant from the National Endowment for the Arts, and focused on the digitization of our impressive collection of Northwest Photography.

Fun fact: The Museum has an incredible (and rare) collection of Northwest photography by female photographers, dating back to the early days of the photographic medium.

Mary Henry, Company II, 1998

Mary Henry (American, 1913-2009), Company II, 1998, acrylic on canvas, Gift of Suzanne and John Rahn through Bill Rhoades, © Mary Henry Estate, 2014.42.5

Hilda Morris, Elegy (Singing Girl), 1940

Hilda Morris, Elegy (Singing Girl), 1940, concrete and plaster, Museum Purchase: Director’s Fund, © 1940 Carl & Hilda Morris Foundation, 47.21

We spent a year digitizing most of the Northwest Photography collection and began Phase two in 2013. Phase two was supported by a generous Humanities Collections and Reference Resources grant from the National Endowment for the Humanities. The focus of the second phase of the NWAI was to digitize the broader Northwest collection, which includes both historic and contemporary paintings, sculpture, mixed media, installation pieces, decorative arts, and prints and drawings.

Myra Albert Wiggins, Creek and Beach, 1896

Myra Albert Wiggins (American, 1869-1956), Creek and Beach, 1896, cyanotype, Gift of Robert and Shirley Benz, no known copyright restrictions, 89.51.96

Eliza Barchus, Three Sisters, ca. 1890

Eliza Barchus (American, 1857-1959), Three Sisters, ca. 1890, oil on canvas, Bequest of Jerry Bosco, no known copyright restrictions, 88.38

Simultaneous to Phase two, we were granted another Art Works award from the NEA to support a related project called Picturing Oregon. The purpose of Picturing Oregon was to apply a layer of geographic cataloging to art works in the permanent collection that depict the state of Oregon. This means that our team went through the Northwest collection to find works that show specific places (like Portland or Mount Hood or Astoria) and added that information to the database so that you can search for it in Online Collections. Now, if you click on “Mount Hood” in a record, you can see all of the other works in the collection that show Mount Hood. So far, we have cataloged over 1,000 works that show places in Oregon to create another way for you to explore the collection. There are lots of possibilities for using this data in the future; someday we can turn it into cool interactives or maps (although, it’s already pretty cool).

A large team, including curators, photographers, registrars, grant-writers, art preparators, and information professionals spent four years working on the NWAI, which included scholarly research about art and artists, measuring artworks, recording inscriptions and markings, handling fragile objects (like the 300+ glass negatives in our collection by Julia E. Hoffman), taking detailed photographs, processing digital files, performing subject and geographic cataloging (which makes Online Collections easier to search), and editing database records. This was a truly collaborative effort.

In addition to sharing images and information on our website, we are also submitting our Northwest Art Collection to Artstor so that students, scholars, and educators around the world can learn more about Northwest Art. Furthermore, we have created almost 13,000 hi-res images of the Northwest Art Collection that can be used for research, in the classroom, for scholarly publications, interactive media, in-gallery programs, and more. The best part is that you can now view and learn about the collection from your own devices no matter where you are or whether or not you’re ever able to visit the Museum in person.

The Northwest Art Collection is the most recent collection we’ve digitized in its entirety (last year, we finished a similar project to digitize our world-class Native American Art Collection, supported by a generous Museums for America grant from the Institute of Museum and Library Services), but it won’t be the last! We’re constantly photographing art and updating records. You can currently browse over 40% of the Museum’s entire permanent collection (over 21,000 objects) in Online Collections and that number grows almost every day!

Our mission is to keep increasing your access to the Museum’s collection. Stay tuned as we continue this exciting journey.

 

National Endowment for the Humanities

The Northwest Art Initiative (NWAI) has been made possible in part by a major grant from the National Endowment for the Humanities: Exploring the human endeavor.

Any views, findings, conclusions, or recommendations expressed in this article do not necessarily represent those of the National Endowment for the Humanities.

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Native Fashion Now Artist Spotlight: The Gaussoin Brothers

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David Gaussoin and Wayne Nez Gaussoin, Postmodern Boa

David Gaussoin and Wayne Nez Gaussoin, (Diné [Navajo])/Picuris Pueblo), Postmodern Boa, 2009, Stainless steel, sterling silver, enamel, paint, and feathers, Courtesy the designers, Courtesy of the designers and the Museum of Indian Arts and Culture.

Next up in our Artist Spotlight series for Native Fashion Now are brothers David Gaussoin and Wayne Nez Gaussoin. They use collaborative artwork to challenge the definition of fashion. Because of this, David and Wayne Nez Gaussoin are featured in the Provocateurs section of the exhibition. Provocateurs create pieces that push the boundaries between art and fashion. The pieces range from experimental to sculptural to conceptual.

We recently interviewed the dynamic brothers.

Why is fashion your medium?

David: I grew up in a jewelry family, so fashion was the perfect evolution of what I do. I found most clothing out there didn’t allow my jewelry to breathe, so I had to create my own. I enjoy using the body as a pallet, and also enjoy the fact that it is functional art.

Wayne Nez: I grew up learning silversmithing from my mother Connie Tsosie Gaussoin and my older brother David, so I used to follow their lead for art shows. I still do, but some of the work has grown past that, and needed to be seen on a runway and on the body. I am actually finishing up my Masters of Fine Arts with a Minor in Museum Studies now at the University of New Mexico, where I have been exploring wearable work and installation art that I plan to incorporate in future fashion events.

In your opinion, what is the difference between inspiration and appropriation, especially in the fashion world?

David: Good question, I struggle with this all the time. Sometimes it’s a fine line between the two. I think I will allow the “experts” to define this answer. However, I feel once you start putting restrictions/rules on artists, thus begins the slow death of creativity.

Wayne Nez: I think that they go both ways. I can only speak for myself as a Native American artist who teaches and studies art. Art is always being appropriated, it’s just in what your intent is and what you’re using it for. From there you know whether it’s right or wrong.

How has your heritage influenced your artwork?

David: It is who I am, so it always finds its way into my work. However, it does not define my work. I am also a person of the world, so I am influenced by all my surroundings.

Wayne Nez: That’s a loaded question. My heritage is Picuris, Navajo, French American, American, New Mexican, Santa Fe-an, Pop Culture, Popular Culture. It’s twisted all in my work.

What messages do you want your artwork to convey to visitors?

David: I enjoy provoking my audience by shock! Once I have your attention, I hope to pull you in to see the beauty. I hope to give a message that our work as Native artists is just as serious as other western art. As I travel the world, and the great museum institutions, I always feel our work gets stereotyped or forgotten altogether.

Wayne Nez: I think it would be “oh cool.” That is real Native American art today, from a real Native American.

What have been your greatest inspirations?

David: I am inspired by the simple beauty that surrounds all of us, that we tend to take for granted.

Wayne Nez: Currently, as I am wrapping up my MFA—being a “professional” artist. Getting up each day and hitting the studio all day, sometimes all night, managing day-to-day operations, I hope will inspire younger Native American artists that art can be a profession and not just a hobby.

For more Provocateurs, visit Native Fashion Now before it closes September 4. 

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