I want the UN to come and see what has happened here : Canadian Indian residential school survivor speaks out for victims in his art theartnewspaper.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from theartnewspaper.com Daily Mail and Mail on Sunday newspapers.
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‘Everyone has had a very different experience of the last year,’ says Rebecca Ann Siegel, director of Americas and content at Frieze. Galleries have struggled – some more so than others. But after a year in which every gallery has had to become something of an island, there is something symbolic about the shift of Frieze New York (5–9 May) from its usual home on Randall’s Island on the east side of Manhattan to the Shed, Diller Scofidio + Renfro’s vast cultural centre at Hudson Yards, eight miles south-west. ‘We’re really excited about coming together at the Shed,’ Siegel says.
Countering the Fetishization of Indigenous Art
How contemporary Native artists are evading recognition and visibility for a more speculative indigenous futurism
In 1991, James Luna invited audiences at the Whitney Museum of American Art to stand on a small riser with him – or alongside one of three life-size, cardboard cut-outs of him shirtless in a beaded necklace or ornate headdress – to ‘take a picture with a real Indian’. It was a precipitous moment for both the institution and the wider art world: two years later, the museum would host the decisive ‘identity politics’ Whitney Biennial (curated by Thelma Golden, John G. Hanhardt, Lisa Phillips and Elizabeth Sussman) that conventional wisdom suggests began a slow tectonic shift toward greater inclusiveness and ‘globalization’. In 1992, to mark the quincentenary of Christopher Columbus’s arrival in the Americas, Coco Fusco and Guillermo Gómez-Peña toured a performance as ‘Amerindians from