First American Art Magazine No. 13, Winter 2016/17 - Page 10

Editor’s Greetings America Meredith (Cherokee Nation), Benediction (John Fire Lame Deer), 2005, acrylic and mica on cradled hardboard panel, 32 × 44 in., collection of the National Museum of the American Indian. T HE ONLY TWO LIMITATIONS on this magazine’s content have been that the material must focus on art, and the art must be by Indigenous peoples of the Americas. Within this broad framework, First American Art Magazine has had a wild ride for the last four years through subjects esoteric and mundane. By not further dictating subject matter, our content has been a bubbling foment of topics reflecting current research trends. By publishing new findings, FAAM has established itself as a journal, albeit not an academic journal. This does not mean we aren’t committed to accuracy; our credo is never knowingly publishing anything that isn’t factual (leading to many negotiations between authors, artists, and editors). Accessibility of our writing is of paramount importance; we want to reach a broad range of communities. My intent is that both a non-Native arts professional with no prior acquaintance with the Native world and a tribal member with no previous initiation into the art world will both find value in our writing—and hopefully find it engaging and illuminating. With Native art criticism, history, and theory so underexplored, I believe in inductive approaches to research—that is, beginning with specific observations to work toward a theory, as opposed to deductive approaches, or beginning with a theory-based hypothesis that is then tested on empirical evidence. Too much of our tribal histories and philosophies still need to be rediscovered, but every day new knowledge is unearthed. The nascent field of Native art studies is tumultuous and exciting to join in on its exploration. Our pages are an experimental space for questioning and consideration, as opposed to an authoritative tome dictating answers. In this issue, writers chose to explore efforts to revitalize Zapotec weaving and natural dyeing in Oaxaca, Mexico; the movement to claim Aboriginal tattooing practices; the To H[X\H[Y\Ԙ^[[ۙ[Y\‘[[X[\X[ۈ[]]B\[\ۋS]]H[][]Y\[[][X]\HXX[˜[Y\\X]K[\^ [Y[܈] \\[][[ܘYK[\KܛX[Z\^ܙ\ܙ\‚ˑTSQTPSTPQVSKB[ܙ\ܛ[Y\\Hق\ۘ[[[][[YHXۛܘ\Kۈ[[]Z[\Y\[\H]]H\\ZHYH[Z\\]YH[^\[Y[]B[Hو]X]\X[[X\]Y\˜]Z[XH[KX\YH]Z[˜[][]HY\][\\˜[[[][ۜوܛ \\Y[]ˈX\\]XY[\X]\™[\X[\[ۜوX\][\K[ܛYYH\\X\وX۝X^[\]\[H\ۋ[H\]و^\[Y[][ۈ[ۈHY\[ۈو\Y]ܚX[Y\܂[\Y[X\[Y\X[XBYYH]\\Y[Y X^[Z[\H[Hܚو\ ]ZX™[\]\X\]\H[YXY[™[HYXۈH۝[[Y\]X›وHܚˈ؜\][ۈ\YBܚ]X[۝[\][ۋ\\\YH\]Y]و^X][\˂H\[X\HH][KY][Y\[X]]H\ܛ BH[H[[ۙ\YX[ۈق]\\[[^H[\\[]Hو\X\[\\˂%[Y\XHY\Y]