First American Art Magazine No. 21, Winter 2018/19 - Page 94

SPOTLIGHT SPOTLIGHT: EVERY ONE Cannupa Hanska Luger (Mandan-Hidatsa-Arikara-Lakota), Missing and Murdered Indigenous Women, Girls, Queer, and Trans People Bead Project: Every One, 2018, social engagement and sculptural installation comprising 4,000 ceramic beads (each two inches diameter); ceramic, ink, nylon, rope. Photos: Neebinnaukzhik Southall (Rama Chippewa). A SPIRIT OF EXPERIMENTATION across media marks the work of Cannupa Hanska Luger (Mandan- Hidatsa-Arikara-Lakota). His installation, Every One, formed by the labor of many hands, delves into the realm of relational art and aims to expose gendered violence committed against Native peoples. Every One debuted in the exhibition Lazy Stitch at the University of Colorado, Colorado Springs, Galleries of Contemporary Art from May 3 to July 21, 2018, and was more recently installed at the Museum of International Folk Art from August 11 to September 16, 2018, where I saw the piece on display. At twelve feet wide, the work was a centerpiece of the muse- um’s expansive atrium. Based on a photographic portrait Sister (2016) by Kali Spitzer (Kaska Dena), Every One is composed of white and grey clay beads, each roughly two inches in diameter, strung in 64 vertical rows. Together the beads form a pixel-like image of a woman’s face on a white background. The placement of the piece suggests that the woman is gazing toward the light streaming in through the atrium’s ceiling windows—conveying a sense of hope. A print of Spitzer’s Sister joined Every One on a nearby wall, along with an artist statement and credit panel for Every One, and labels for the two pieces. Through a set of headphones, attendees could listen to a hip-hop track and a spoken word piece, which deals with the issues of missing and murdered Indigenous women. Unfortunately, the musician was not cred- ited and transcriptions were unavailable. A 2017 quilted piece by Susan Hudson (Navajo), MMIW Since 1492 (Missing and Murdered Indigenous Women Since 1492) resided on the other side of the doorway. The quilt features stitched writing and four panels with representations of Native women’s outfits left behind by missing women. These additions lend multiple voices to the conversation initiated by the main installation. Every One built upon Luger’s community collaborative project, Missing and Murdered Indigenous Women, Girls, Queer and Trans People Bead Project (MMIWQT Bead Project). More than four thousand ceramic beads in Every One were sculpted by individuals belonging to diverse organizations, institutions, and communities across the United States and Canada. The irregular shapes of the clay balls show the personal touch of each partici- pant. I was surprised to see that Oregon State University, my alma mater, was named on the credit panel, through the participation of people at the Native American Longhouse Eena Haws, the Women’s Center, and the Pride Center. 92 | WWW.FIRSTAMERICANARTMAGAZINE.COM By Neebinnaukzhik Southall