10 Queer Indigenous Artists on Where Their Inspirations Have Led Them
https://www.nytimes.com/2021/04/23/t-magazine/queer-indigenous-artists.html
While wide-ranging in scope and style, these pieces are alike in their power and depth.
Interviews by Samuel Rutter and Caitlin Youngquist
April 23, 2021, 3:35 p.m. ET
Though the pandemic’s grip is starting to loosen, and relief finally feels within reach, this past year has underscored our country’s long history of violence, new examples of which serve as reminders of older ones. Among them are the myriad atrocities perpetuated against Indigenous people in what we now call America (and beyond), individuals whose experiences are to this day too often distorted or left untold. Lately, though, there have been some hard-won gains on that front, from professional sports teams finally changing their names to the Metropolitan Museum of Art hiring Patricia Marroquin Norby as its first curator of Native American Art. It is not necessarily
National Gallery, London
Much has been written about John Constable’s success at the Paris Salon of 1824, but his participation in the next Salon of 1827–8 has received far less attention. This relative neglect is perhaps not so surprising, given that the single painting he exhibited,
The Cornfield 1826 (fig.1), did not repeat his earlier triumph. The same Salon at which Constable met with a critical setback, however, also marked the debut of Paul Huet, the artist usually regarded as his closest French follower. But if critics and artists seem out of step in their attitudes to the English artist in the later 1820s, the real flowering of Huet’s engagement with Constable has often been overlooked, since it came more than a quarter of a century later.