#First Nations art

[superinjun]

We Are The Ocean

Ursala Hudson (Tlingit/Filipino/German)

collar: merino wool, silk, steel cones, leather. ravenstail patterns, crochet, basketry twining technique. Woman as a Wave shawl: merino wool, silk, cedar bark. chilkat and ravenstail patterns, crochet, basketry twining technique. Tidal apron: merino wool, silk, leather, steel cones. chilkat and ravenstail patterns.

“We Are the Ocean is an ensemble comprised of a collar, apron (entitled Tidal), and shawl (entitled Woman as a Wave). The collar and bottom edge of the shawl are twined using a basketry technique to bring delicacy to the regalia, made specifically to emphasize the wearer’s feminine essence. In place of the sea otter fur that traditionally lines the top of Chilkat and Ravenstail weavings, the merino weft yarns were used to crochet the collar and shawl’s neck lines, bringing forward and incorporating a European craft practiced by both my maternal (Tlingit/Filipino) and paternal (German) grandmothers. The high neck of the collar gives tribute to the Western aesthetics that have forever influenced the Indigenous cultures of our lands; with grace, we embrace that which cannot be undone, and use our new form to be better. The apron’s pattern was studied and graphed from an old Tlingit cedar bark basket, and represents the tides of our lives, as our lessons continue to arise in a revolving cycle, yet made of new debris. The repetitive pattern of the shawl represents the infinite connectedness of our sisters, mothers, aunties, and daughters. Blue lines break up inverted rows, representing the “past,” “present,” and “future,” acknowledging these concepts as irrelevant constructs that fall away when we commune with the Divine. The entire ensemble is worn to evoke the innate spirit of the Woman as an ethereal deity, that resides within us all.”

[thunderstruck9]

Alex Janvier (Canadian/First Nations, 1935-2024), Lubicon, 1988. Acrylic on canvas, 165.2 x 267 cm. Art Gallery of Alberta

[arthistoryanimalia]

Levi Qumaluk (Inuit; Nunavik, 1919-1997) Untitled (Walrus), 1952 Steatite, ivory, 9.4 x 18.7 x 19.7 cm Montreal Museum of Fine Arts 1953.Aa.1

[thatdamnokie]

national cowboy & western heritage museum, oklahoma city, oklahoma.

[the-cricket-chirps]

Carl Ray

Moose

1977

[queerasfact]

Lookin' Good

Lookin’ Good was one of Australia’s first queer First Nations art exhibitions. Hosted in at Boomalli Aboriginal Artists Cooperative in Sydney during Mardi Gras in 1994, the exhibition was curated by Gamilaraay, Wailwan and Biripi artist r e a, Bundjalung artist Matthew Cook, and Wiradjuri and Ngunnawal artist Brook Andrew. To quote Matthew:

The aim of the exhibition is to project a positive image of gays and lesbians within the Koori [south-eastern Australian Aboriginal] community and similarly projecting a positive image of Kooris within the Sydney gay and lesbian community.

The exhibition featured various works by queer Indigenous artists, including Matthew’s jeans (which he’s wearing in the picture), covered with various patches including the Aboriginal flag, and posters by Bundjalung artist Bronwyn Bancroft, exploring Queer Blak men’s experience during the AIDS crisis.

Boomalli has continued to host a queer exhibition as part of Mardi Gras each year, and this year celebrated 30 years of sharing queer, Indigenous art.

Keep an eye on this blog throughout the week as we continue highlighting queer Aboriginal and Torres Strait Islander history and culture for NAIDOC Week.

[Image source]

[de-mykel]

Nico Williams. Mnidnoominehnsuk/Spirit Berries, 2018.

over 54,000 Delica glass beads presenting 20 different stories

[thererisesaredstar]

Autumnal Owl by Kenojuak Ashevak (1999)

[christinadrag0n]

Based of the book “Indian Horse” by Richard Wagamese.

This was all painted by me in acrylic paint, this was for an assignment. There was a bunch of things that I wanted to fix but I had a time limit.

The two characters in the middle are both Saul Indian Horse, the younger and older version.

I painted this all the way back in January.

[triumph-of-adaptation]

Desirai.art for NAIDOC Week 2024

[kounoe]

got a couple pieces of singing tsuchinokou based on the folklore fatty (said lovingly) magical snake

wondering if I could find a way to rig them to sing with them maybe? we'll see it depends on life & health

[superinjun]

Spaced Invaders - 2014

Sonny Assu (Ligwilda'xw Kwakwaka'wakw)

digital intervention on an Emily Carr painting (Heina, 1928)

[thunderstruck9]

Bill Reid (Haida/Canadian, 1920-1998), Xhuwaji - Haida Grizzly Bear, 1990. Colour silkscreen, 21 1/2 x 21 1/2 in.

[arthistoryanimalia]

For #Crustmas on #Woodensday:

gamisida długwe' (#Crab Puppet) Kwakwaka'wakw, British Columbia, Canada, before 1952 Wood, paint, 11.4 cm x 22.9 cm x 67.9 cm UBC Museum of Anthropology A6362

“These articulated characters are known as dług̱we’ treasures (as are the theatrical dances in which they appear). The Kwakwaka’wakw have a history of puppetry related to their ceremonial feasts. The winter potlatches are known for their spectacular performances, suffused with cultural teachings and supernatural content, such as the coming of Winalagalis, the supernatural warrior. Dances and songs associated with Winalagalis include the tuxw’id, which is performed by women, who have the power and rights to make the dług̱we’ treasures (puppets) come to life. For instance, a tuxw’id dancer could summon a crustacean to life, on invisible cords, in the flickering firelight.”

[alittleguyaday]

A Little Guy on a Yup'ik harpoon line, c1885-1930!

Little Guy rating: 10/10

Notes: ivory little guy! probably a seal!

[the-cricket-chirps]

Carl Ray

Thunderbird in Human Form

1972