![]() Taking a broad scope to examining the history of Native contemporary art through the lens of performance, the exhibition engages notions of object and agency, sound and instrumentation, dress and adornment, and the body and its absence. “Inspired by this document, the exhibition, Indian Theater is attuned to the intersections between objects, performance-in its expanded forms-film and video, and visual sovereignty in Native North American contemporary art.” The treatise was the first to attempt to define ‘New Native’ theater, ushering in a new way of framing the long practice of performance in Indigenous societies across Turtle Island they were also creating a template for its future,” stated Hopkins. “This exhibition takes its impetus from a modest, yet significant document: Indian Theatre: An Artistic Experiment in Process, published by the Institute for American Indian Arts (IAIA) in 1969. “This groundbreaking presentation at the Hessel Museum provides a new framework for the interpretation of Indigenous contemporary art, a field of study that we look forward to continuing to advance with new research and curatorial innovation.” “This exhibition marks a critical contribution to contextualizing contemporary Indigenous art as part of a larger artistic movement whose history has been understudied and overlooked,” said Tom Eccles, Executive Director of the Center for Curatorial Studies, Bard College, and Founding Director of the Hessel Museum of Art. On view from June 24 through November 26, 2023, Indian Theater is part of a sweep of initiatives at Bard College to place Indigenous Studies at the heart of curricular innovation and development, including the appointment of Hopkins as CCS Bard’s inaugural Fellow in Indigenous Art History and Curatorial Studies. The exhibition brings together over 100 works by over 40 artists and collectives, including new commissions and performances by Rebecca Belmore (Anishinaabe), Nicholas Galanin (Tlingit/Unangax̂), Jeffrey Gibson (The Mississippi Band of Choctaw Indians/Cherokee), Maria Hupfield (Anishnaabek, Wasauksing First Nation / Canada), and Eric-Paul Riege (Diné). Curated by leading scholar and curator Candice Hopkins (Carcross/Tagish First Nation), Indian Theater: Native Art, Performance, and Self-determination Since 1969 traces the history of experimentation that emerged from the Institute of American Indian Arts’ Department for New Native Theater in the late 1960s and continues to inform the practice of Native artists today. The first major exhibition to center performance as an origin point for the development of contemporary art by Native American, First Nations, Inuit, and Alaska Native artists opens this June at the Center for Curatorial Studies’ (CCS Bard) Hessel Museum of Art. Maria Hupfield (Anishinaabe, Wasauksing First Nation / Canada), Jeffrey Gibson (The Mississippi Band of Choctaw Indians/Cherokee), Rebecca Belmore (Anishinaabe), Nicholas Galanin (Tlingit/Unangax̂), The practice of artists from across Turtle IslandĮxhibition features commissions and performances by Indian Theater: Native Art, Performance, and Self-determination Since 1969 centers performance as origin point for Photo courtesy the Estate of James Luna, Forge Project Collection, traditional lands of the Muh-he-con-ne-okįeaturing over 100 works from the 1960s through today, ![]() Right: James Luna (Payómkawichum, Ipai, and Mexican), Make Amerika Red Again, 2018. Left: asinnajaq (Inuk), Still from Rock Piece, 2015.
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