For more information,
|Dr. Christine Ballengee-Morris lecturing on Contemporary American Indian Arts: Including Earthworks. Image Courtesy of Timothy E. Black, DMIN Photography.|
Dr. Christine Ballengee-Morris, Professor of Arts Administration, Education and Policy, and Coordinator of the American Indian Studies Program at the Ohio State University gave the first of three Newark Earthworks Center sponsored guest lectures titled, “Contemporary American Indian Arts: Including Earthworks.”
She proceeded to establish how contemporary American Indian art is a complex creation with specific symbols and meanings, the importance of American Indian Aesthetics, and how commonalities are still seen in the forms of identity, spirituality and power.
While looking back on the history of American Indian art, Dr. Ballengee-Morris stated that, “Indigenous arts, historically, have either been relegated to anthropology or marginalized by European-derived systems of aesthetics.”
By the 1880’s, American Indians were having rights and lands stripped from them, their identities reformed, and their image to the rest of the world simplified as being mere savages. Events like Wild Bill’s Wild West shows and artists like George Catlin or Charles M. Russell furthered these ideas for many years. Legislations of the time allowed for the blossoming of American Indian schools that sought to integrate Indian children into White society through reforms that wiped clean their Indian history and culture.
Contemporary American Indian artists focus upon aspects of Identity, Spirituality, and Politics are important as they help create connections to the past, present, and future. Through these connections, artists like Brian Jungen or Louis Gong are able to ensure that American Indian traditions survive and change. By adapting to new circumstances, materials, and concepts; artists are able to look into the past and bring it forward for future inspiration.
Dr. Ballengee-Morris discussed the roles of many contemporary American Indian artists today including: Teri Greeves, James Luna, Erica Lord, Will Wilson, Virgil Ortiz, Daniel Bigay, Terri Asbury and America Meredith. These artists have created a wide variety of art forms; each one unique and with its own meaning. Commonalities may exist within the narrative of these pieces, but each artist offers distinct messages to make people think of the past and to realize that the 19th century ideas of a vanishing peoples is far from the truth.
Like the earthworks themselves, Contemporary American Indian art strives to convey messages of identity and cultural awareness, politics and spirituality to future generations. By reconnecting to the past and creating a better representation in the present, these artists are able to rewrite history in a way that better defines their culture and its significance in the shaping of these lands.
For more information,
- Eastern Band of Cherokee
- American Indian Studies
- Department of Arts, Education, and Policy
- National Museum of the American Indian
- Buffalo Bill Center of the West
- Wild West Shows: Buffalo Bill's Wild West
- William F. "Buffalo Bill" Cody Research
- Charles M. Russell
- George Caitlin's Obsession
- Bruce Watson, Smithsonian Magazine, December 2002.
- George Caitlin and His Indian Gallery
- Smithsonian American Art Museum Online Exhibit, 2004.
- C.M. Russell Museum
- Carlisle Indian School Digital Resource Center
- Brian Jungen Biography
- National Gallery of Canada
- Strange Comfort Exhibit
- Brian Jungen, National Museum of the American Indian, 2009.
- Louis Gong
- Design Yourself: I AM NMAI flickr stream
- Louis Gong, National Museum of the American Indian, 2012.
- Teri Greeves Beadwork.com
- Deer Woman
- Teri Greeves, The British Museum Collection, 2004.
- James Luna
- Erica Lord
- Erica Lord Biography
- Museum of Contemporary Native Arts
- Will Wilson
- Virgil Ortiz
- Ancient Interpreters: Virgil Ortiz
- Jay Tavare, The Huffington Post, August 2012.
- About Us (Daniel Bigay)
- Spirit Keepers: Sacred Ground Soundtrack
- Tom Goodman (Lower Creek) and Daniel Bigay (Choctaw), Spirit Keepers, 1999.
- Terri Smith-Asbury Facebook
- Neighbor featured Artist: Teresa Asbury Transcends the Traditional in Art
- Daniel Luther, The Greeneville Neighbor News, October 14, 2009.
- James-Ben Studio & Gallery Art Center
- Ahalenia: Native American Art History, Writing, Theory, and Practice Blog
- First American Art Magazine
- "Game Changing: Developing Meet the Earthworks Builders"
- Michelle Aubrecht and Christine Ballengee-Morris, Psychology of Gaming, Nova Science Publishers, 2013, pg 135-149.
- "Decolonizing Development Through Indigenous Artist-Led Inquiry"
- Christine Ballengee-Morris, James Sanders, Debbie Smith-Shank, and Kryssi Staikidis, Journal of Social Theory in Art Education, 2010, Issue 30, pg 60-81.
- "They Came, They Claimed, They Named, and We Blame: Art Education in Negotiation and Conflict"*
- Studies in Art Education, Spring 2010, Vol. 51 Issue 3, pg 275-287.
- "Indigenous Aesthetics: Universal Circles related and connected to everything called life"*
- Art Education, Mar 2008, Vol. 61 Issue 2, pg 30-33.
- "Telling Stories, Telling Tales"*
- Stephen B. Carpenter II, Art Education, September 2005, Vol. 58 Issue 5, pg 4-5.
- "You Can Hide But You Can't Run: Interdisciplinary and Culturally Sensitive Approaches to Mask Making"*
- Christine Ballengee-Morris and Pamela G. Taylor, Art Education, 2005, Vol. 58 Issue 5, pg 12-17.
- "Cultures for Sale: Perspectives on colonialism and self-determination and the relationship to authenticity and tourism"*
- Studies in Art Education, Spring 2002, Vol. 43 Issue 3, pg 232-245.
- The Evolving Theme of Teaching Multicultural Art Education. Monograph Series
- Sharon Greenleaf La Pierre and Christine Ballengee-Morris, 2002.
- "Multicultural art and visual culture education in changing world"
- Art Education, 2001, Vol. 54 Issue 4, pg 6-13.
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