First American Art Magazine No. 21, Winter 2018/19 - Page 24

above Sonny Assu (Ligwilda’xw), We Come To Witness, 2014, digital intervention on an Emily Carr painting (Silhouette No. 2, 1930) 22.5 × 34 in. Image courtesy of the artist. opp osite, top J o s e p h E r b (Cherokee Nation), Warrior, etched copper cuff. Image courtesy of the artist. opposite, bottom Joseph Erb (Cherokee Nation), Ssiquoya ale Talugisgi Yvwi, etched copper cuff. Image courtesy of the artist. Niro, for example, wore a Star Trek: The Original Series costume in a self-portrait in her series, This Land Is Mime Land (1992). By depicting herself in the gold uniform worn by command personnel and holding a communicator, she placed herself inside a different world where she held agency and leadership. Like Skawennati, some Native artists create their own versions of the future, seen in works by Wendy Red Star (Apsáalooke) and Virgil Ortiz (Cochiti). In the series Thunder Up Above, Red Star photographed herself as a dancer in a “futuristic powwow” 8 in bright, elaborate dresses she constructed, then digitally posed herself against cosmic landscapes. Ortiz’s Revolt 1680/2180, an immersive work that combines video, ceramics, and murals, follows a group of time travelers who begin at the Pueblo Revolt of 1680 and journey forward five centuries. Several shows on the topic have been held recently. Jeffrey Veregge (Port Gamble S’Klallam) created an instal- lation for the Smithsonian's National Museum of the American Indian in New York City. The National Gallery of Canada’s Indigenous Futurism: Transcending the Past, Present and Future opened this year with pieces by a number of artists, including several Inuit artists. The Museum of Northern Arizona will have a show of Star Wars-inspired images from artists in the Southwest in October 2019 in Flagstaff, Arizona. With Chelsea Herr, I curated a show of science fiction imagery in Indigenous arts at the New Mexico State University Art Museum this past fall. Many of these artists also show at Indigenous Comic Con, held at the Isleta Resort and Casino near Albuquerque, New Mexico. Much of the study and practice of Indigenous Futurisms is centered in Montreal with Skawennati and Jason Edward Lewis, professor of design and computation arts at Concordia University in Montreal. Skawennati and Lewis originally met at the Banff Centre in the mid-1990s. Banff offers symposia and fellowships, making a space for Indigenous artists and scholars to meet and share ideas. Drawing inspiration from the CyberPowWow online artist gallery and the Banff model for trans- disciplinary approaches to new media creation, Skawennati and Lewis consid- ered how to build a creative community to explore the potential of the digital world, which resulted in Aboriginal Territories in Cyberspace (AbTeC), founded in 2005. AbTeC is a research network of artists, academics, and engi- neers involved in creating and studying Indigenous virtual environments. AbTeC led to the Initiative for Indigenous Futures (IIF). The IIF 8. Zach Dundas, “Wendy Red Star Totally Conquers the Wild Frontier: Exploring the Native America of a Portland artist on the Rise,” Portland Monthly, April 2, 2015, web. 22 | WWW.FIRSTAMERICANARTMAGAZINE.COM