#alutiiq art

[nonhapiupareti]

Linda Infante Lyons

The Alutiiq Museum and Archaeological Repository, Kodiak, Alaska.

[arthistoryanimalia]

Happy #InternationalDayOfTheSeal ! 🦭

Seal Decoy Helmet

Alutiiq (Pacific Eskimo), Kodiak Island, Alaska, before 1869

Carved & painted spruce wood, inlay whiskers, 17.5 x 25.5 x 19 cm (6 7/8 x 10 1/16 x 7 1/2 in.)

Harvard Peabody Museum 69-30-10/64700

“Carved from wood, hunters would have worn this hat to approach and trap seals.”

[gritty-big-naturals]

who wants to go to the met museum and yell about stolen indigenous art with me bc WEW i’m heated

[baebeylik]

Whale. Ivory. Alutiiq. Alaska, United States. 20th Century CE.

The Metropolitan Museum of Art.

[allgremlinart]

ok since a couple people were wondering in the tags I'll explain where I referenced Sokka and Yue's outfits from here under the cut :]

for Sokka I mostly referenced Aleut/Alutiiq/Unangan clothes (think Aleutian Islands, Alaska, Northwest Coast - thereabouts)

for Yue I referenced Haida/Tlingit/Northwest Coast clothes, specifically this gorgeous apron and shawl combo from the Stonington Gallery which u should soooo check out. I chose this inspo for Yue cus A) its gorge and B) there were like clearly Northwest inspired Totem Poles at the Northern Water Tribe so I wanted to include that element in my pre-uni designs instead of just Mongolian/Siberian elements (which I do loooove seeing in Yue fanart btw iykyk)

as with like. ALL of my atla fashion art I've clearly taken extreme creative liberties with the clothes, because essentially they're fantasy setting clothes and I'm not gonna act like they're not lol. you should def research Northwest Coast clothing if you're into clothes like I am tho because there's plenty of historical resources and modern artists out there

Also while I'm here... go watch Sgaawaay K'unna >:) its good

[sarkos]

Stepping into the Metropolitan Museum of Art, Shyanne Beatty was eager to view the Native American works that the art collectors Charles and Valerie Diker had been accumulating for nearly half a century. But as she entered the museum’s American wing that day in 2018, her excitement turned to shock as two wooden masks came into view. Beatty, an Alaska Native, had worked on a radio documentary about the two Alutiiq objects and how they and others like them had been plundered from tribal land about 150 years ago. Now, the masks were on display in the biggest and most esteemed art museum in the western hemisphere. “It was super shocking to me,” she said. The Met’s ownership history for the masks, also known as provenance, omits more than a century of their whereabouts. Historians say the masks were taken in 1871. But the museum’s timeline doesn’t start until 2003, when the Dikers bought them from a collector. Ownership was transferred to the Met in 2017. ProPublica review of records the museum has posted online found that only 15% of the 139 works donated or loaned by the Dikers over the years have solid or complete ownership histories, with some lacking any provenance at all. Most either have no histories listed, leave gaps in ownership ranging from 200 to 2,000 years or identify previous owners in such vague terms as an “English gentleman” and “a family in Scotland”.

Where did the Metropolitan Museum of Art get its Native American objects? | New York | The Guardian

[usmaradiomagazine]

𝗢𝗡 𝗔𝗜𝗥 - Tuesday 4 February at 7:00 pm (CET) - usmaradio.org

USMA for radioart106

𝗥𝗮𝗱𝗶𝗼 𝗜𝗻𝘀𝗶𝘀𝘁𝗲𝗻𝗰𝗲 𝗯𝘆 𝗥𝗶𝗰𝗵𝗮𝗿𝗱 𝗙𝗶𝗻𝗹𝗮𝘆 𝗙𝗹𝗲𝘁𝗰𝗵𝗲𝗿 [59 min.]

Radio Insistence was a year-long radio show created by Richard Finlay Fletcher in January 2024, inspired by the concept and practice of insistence of the Alutiiq/Sugpiak artist Tanya Lukin Linklater, specifically through a text, written in 2016 called ‘A Glossary of Insistence’. The show spanned the course of 12 months, three seasons, and two classes Finlay Fletcher taught at This* Ohio State University: one on Visual Culture: Representing Diversity and Social Justice (for undergraduate students) in the Spring of 2024 and one called Global Indigenous Arts: Education for Settlers (for both undergraduate and graduate students) in the Fall of 2024. In the Summer, while not teaching, Finlay Fletcher kept Radio Insistence going by reflecting back on season 1 and looking forward to season 2. 

Episodes in the first season had several sections – Music, News, Reviews, Word of the Week and Listener Requests. The News section, for example, Finlay Fletcher introduced students to the ongoing occupation of Palestine by Israel through the artworks of both Palestinian and Israeli artists. During the summer, protests erupted on US campuses, including this one, to bring attention to the violence in Gaza and the West Bank, and the transitional second season tuned into moments of Indigenous solidarity with Palestinians as well as broader voices engaged with critiques of settler colonialism.

The third and final season turned to global Indigenous artists who participated at the 2017 documenta 14 exhibition, split between Athens, Greece and Kassel, Germany. Following the first part of Finlay Fletcher’s conversation with Tanya Lukin Linklater, what you are about to hear today is a retrospective collage of all three seasons of Radio Insistence, ordered chronologically, divided by the jarringly insistent sound of static and snippets of voices and music, as we move through the radio dial, which locates each episode, when and where it was recorded and aired, in time and space. This show is just a small sampling of what Radio Insistence was and you can listen to all 32 episodes in the Soundcloud links in the credits.

Richard Finlay Fletcher (he/him) is an associative professor in the Department of Arts Administration, Education, and Policy at This* Ohio State University. His work asks how centering Indigenous artists' participation within public learning programs at temporary large-scale contemporary art exhibitions can unsettle entranced institutions of higher education within colonial contexts. A former classicist, he created the blog, platform, and persona Minus Plato (2012-2022; 2024-present) to transition from inherited Western canons through a decolonial arts aneducation grounded in a critical approach to settler colonialism and through centering the transforming work of global Indigenous artists. His radio works include Feedback Delayed Fridays (2019), dear fellow settler colonizer, (2021-2022), This Decoloniality? (2022), Desire Lines in the Air (2022), ‘Singing on a Radio in the Rain’(2023), and Radio Insistence (2024), the latter inspired by the concept and practice of insistence of Alutiiq/Sugpiak artist Tanya Lukin Linklater. All are available on https://soundcloud.com/user-36998074 He tries to live in a first draft world. 

Full Credits:

1.     Conversation with Tanya Lukin Linklater, recorded via Zoom on December 27, 2024

2.     Richard Finlay Fletcher Radio Insistence – Season 1: January-April 2024 (12 episodes) https://soundcloud.com/user-36998074/sets/radio-insistence

a.     Woody Guthrie ‘This Land is Your Land’ (1944)(clip) https://www.youtube.com/watch?v=wxiMrvDbq3s

b.     Yael Davids ‘A Daily Practice - One is always plural’ (clip), October 29, 2020, https://www.youtube.com/watch?v=815KQuIgVok

c.     Emily Jacir ‘Artist Emily Brings the Palestinian Experience to the Venice Biennale’ (clip), Democracy Now! April 12, 2015 https://www.youtube.com/watch?v=4NUDwuDDJvs

d.     Bruce Springsteen ‘Born in the USA’ (1984) (clip) https://www.youtube.com/watch?v=EPhWR4d3FJQ

e.     Floating Room ‘Shimanchu’ (2021) (clip) https://www.youtube.com/watch?v=kwjQjVO3EnI

f.      Eitan Bronstein Aparicio speaking in Dani Gal and Achim Lengerer Decolonized Weather (2017) (clip) - https://www.mixcloud.com/asherkiller1975/mulkelhood/

g.     Black Belt Eagle Scout ‘Indians Never Die’  (2018) (clip) https://www.youtube.com/watch?v=aInrLRdBJuU

3.     Richard Finlay Fletcher Radio Insistence – Season 2: April-August 2024 (8 episodes) https://soundcloud.com/user-36998074/sets/radio-insistence-season-2

a.     WKCR News Coverage: CUAD Students Occupying Columbia (live radio clip), April 30, 2024

b.     Mark Rudd speech in May 1968 (clip), in ‘1968 Columbia Protests Still Stir Passion’ NPR April 23, 2008 https://www.npr.org/2008/04/23/89884026/1968-columbia-protests-still-stir-passion

c.     John Trudell on Radio Free Alcatraz, May 7, 1970 (clip) Pacifica Radio Archives (cd) https://pacificaradioarchives.org/recording/bb545723-24?nns=alcatraz

d.     Meira Asher, radioart106, no. 158: The Shepherds’ Community of Hamra, North Jordan Valley, Palestine, commissioned by Raio Art Zone 2022, aired September 13-14, 2022 https://www.mixcloud.com/radioart106/radioart106_158_the-shepherds-community-of-hamra_north-jordan-valley_palestine/

e.     Walter Edward ‘Ted’ Carter Testimony to the Ohio Senate Workforce and Higher Education Committee, (clip) May 8, 2024  https://www.ohiochannel.org/video/ohio-senate-workforce-and-higher-education-committee-5-8-2024

f.      Ellen Gabriel speaking on CKUT 90.3FM coverage of Peoples' University Encampment at McGill Spring 2024 (clip), May 2, 2024 https://soundcloud.com/radiockut/sets/coverage-of-the-peoples-university-encampment-at-mcgill

g.     Chief Glenna Wallace of the Eastern Shawnee Tribe of Oklahoma, Seip Earthworks Speech (clip), November 3, 2014 https://openvirtualworlds.org/omeka/items/show/1204

4.     Richard Finlay Fletcher Radio Insistence – Season 3: September-December 2024 (12 episodes) https://soundcloud.com/user-36998074/sets/radio-insistence-season-3

a.     David Harding in Concrete Safari (clip), documentary directed by Carolyn Scott and Andy Sim (2018) (clip) https://www.youtube.com/watch?v=DhA-DaPQKZo

b.     Postcommodity Blind/Curtain (2017) (clip) https://www.youtube.com/watch?v=2wgg7KtzTrU

c.     D Harding in ‘Form x Content—Determined Sensibilities: Megan Tamati-Quennell, Dale Harding and Brook Garru Andrew’ (clip) August 11, 2021 www.youtube.com/watch?v=NcaocBi67io

d.     Joar Nango Joar Nango in conversation with Axel Wieder (clip) September 6, 2020 www.youtube.com/watch?v=dS4NY9jImV4

e.     Mataaho Collective in Artists of Oceania: Mata Aho Collective (clip) November 6, 2018 https://www.youtube.com/watch?v=hK1D-6R1Xv0

f.      Gauri Gill ‘On Seeing’ (clip), April 27, 2020 https://www.youtube.com/watch?v=XpXYyYCZWEk

g.     Ahlam Shibli in In Conversation: Adam Szymczyk and Ahlam Shibli (clip) October 17, 2018 https://www.youtube.com/watch?v=8WftbOZS2QA

h.     iQhiya Collective ‘Fresh Off the Boat’, documenta 14 (clip), April 27, 2017  https://www.youtube.com/watch?v=P6y-onNtqic

i.      Abel Rodríguez in Mogaje Guihu, El nombrador de plantas (2022) (film) (clip)  - torontobiennial.org/exhibition/abel…porary-toronto/

j.      Rebecca Belmore and Wanda Nanibush in ‘Expert Series: Rebecca Belmore in conversation with Wanda Nanibush’ (clip) August 1, 2023 https://www.youtube.com/watch?v=gh_8IE7RAdg

k.     Tanya Lukin Linklater in conversation with Kelly Kivland and Richard Finlay Fletcher at Wexner Center for the Arts Open House (clip) April 19, 2024 https://wexarts.org/special-events/wex-open-house-2024

l.      Anna Freeman entry ‘Intention’ from ‘A Glossary of Intention’ from her PhD dissertation 'Aligning Indigenous Presence, Ancient Earthworks, and Artistic Practices: An Indigenous-Led Participatory Action Research Study' (clip) December 27, 2024.

5.     Conversation with Tanya Lukin Linklater, recorded via Zoom on December 27, 2024 

[huitangerine]

Native American Tribes Chibi Art

Happy Native American Heritage Month! Check out this user I use to see on DeviantArt (thread). Check out their "NATIVE AMERICAN" folder.

The Native American tribes that they made chibi art of are: Shawnee, Coast Salish, Yurok, Crow, Abenaki, Seminole, Navajo, Tuscarora, Mohawk, Oneida, Onondaga, Cayuga, Seneca, Cheyenne, Apache, Blackfoot, Havasupai, Pawnee, Chumash, Pomo, Yaqui, Zuni, Hopi, Haida, Tlingit, Cree, Dakota, Paiute, Nez Perce, Ojibwe, Gwich’in, Dogrib, Choctaw, Chinook, Cherokee, Carrier (Dakelh), Maya, Aztec, Siberian Yupik, Alaskan Yupik, Alutiiq, and Aleut.

Their art is very cute! I saved all of their Native American chibi art. It’s fun to read about the tribes too.

This user also made chibi character art of people from other countries too. #freepalestine 🙏🏽💔 Please keep in mind that this user has made these chibi artworks way before the genocide started. (I saw that they made characters from Israel in their gallery). This user’s art is not recent. Just letting you know.

[armthearmour]

In honor of the recently passed indigenous people's day, I have decided to devote all of today's posts to indigenous weapons of North America, specifically those on display at the Metropolitan Museum of Art's Art of Native America exhibit.

I open with a weapon little seen, the atlatl, this one fashioned by the Alutiiq/Sugpiaq of Kodiak Island, modern Alaska, United States.

[yourdailyqueer]

Storme Webber

Gender: Two spirit (she/they)

Sexuality: Lesbian

DOB: Born 1959

Ethnicity: First Nation (Sugpiaq - Alutiiq, Choctaw), black

Occupation: Artist, poet, curator, professor, producer

Note: In 2019 she was named a Seattle Living Legacy for building global awareness of the LGBTQ+, indigenous, Two Spirit, and Black populations of Seattle through her art, poetry, performances, and multimedia exhibits

[mia-africa-americas]

Vest, c. 1800, Minneapolis Institute of Art: Art of Africa and the Americas

dark brown body with lighter brown trim; V neckline; pullover style; front decorated with two horizontal stripes on shoulders with alternating dark and light brown animal hide squares; horizontal band across chest with pairs of vertical light brown bars flanking a small circle of light brown; double rows of tiny light brown squares between bars and circles; pairs of vertical rows of red felt short fringe under arms, at lower center on back and alternating with dark brown rectangles and one square on center of back; dark brown rectangles at center back decorated with vertical stitching in red, blue, light brown and cream; similar stitching on square at center back except in horizontal rows three vertical decorative stitched lozenges above central back on back The Unangan and Alutiiq live on Kodiak Island and the lower part of Prince William Sound, in what is now Alaska. The woman who made this vest in the early 1800s used materials available in the Arctic, embellishing the basic sealskin garment with red wool from trade with Euro-Americans, bird quills, and other animal and bird parts that add color and texture. The zigzag designs on both sides are made from bird quills sewn onto the hide with sinew. This small vest was probably worn by a child, most likely for celebratory occasions. It is a rare item, and only one other like it is known to exist in the National Museum of Finland. Size: 17 × 18 3/16 in. (43.18 × 46.2 cm) Medium: Sealskin, wool, bird quills, animal membranes, fur

https://collections.artsmia.org/art/127044/

[autvisualarts]

Five of our favourite Visual Arts at AUT alumni together at the opening of "Transits and Returns" at Vancouver Art Gallery!

Joe Prisk, Cora-Allan Wickliffe, Louisa Afoa, Paula Booker and Kelsey Stankovich 😁

~*~*~*~*~*~*~*~*~*~

"Transits and Returns" features AUT whanau, BC Collective (Cora-Allan Wickliffe and Daniel Twiss) with Louisa Afoa and Ahilapalapa Rands – and A&D PhD researcher Lana Lopesi is part of the curatorial team!

Lots to celebrate, AUT VA!! {{{{ Super proud }}}}

- Transits and Returns presents the work of 21 Indigenous artists whose practices are both rooted in the specificities of their cultures and routed via their travels. These forces of situatedness and mobility work in synergy and in tension with one another, shaping the multiple ways of understanding and being Indigenous today. Within the exhibition, these dual realities are explored through themes of movement, territory, kinship and representation, with many artworks inhabiting multiple categories. The resulting presentation foregrounds the creative sovereignty of each artist to determine their own articulations of the world, while also exploring the resonances between them.

Featuring artists from local First Nations, as well as those from communities located throughout the Pacific region (ranging from Alutiiq territory in the north to Māori lands in the south, with many mainland and island Nations in between), Transits and Returns traces wide-ranging experiences that are inclusive of both ancestral knowledges and global connections.

Participating artists include Edith Amituanai, Christopher Ando, Natalie Ball, BC Collective with Louisa Afoa, Drew Kahuʻāina Broderick with Nāpali Aluli Souza, Hannah Brontë, Elisa Jane Carmichael, Mariquita Davis, Chantal Fraser, Maureen Gruben, Bracken Hanuse Corlett, Taloi Havini, Lisa Hilli, Carol McGregor, Marianne Nicolson, Ahilapalapa Rands, Debra Sparrow and T’uy’t’tanat Cease Wyss.

- TRANSITS AND RETURNS SEPTEMBER 28, 2019 - FEBRUARY 23, 2020

Organized by the Vancouver Art Gallery in collaboration with the Institute of Modern Art, Brisbane. The exhibition is curated by Tarah Hogue, Senior Curatorial Fellow, Indigenous Art, Vancouver Art Gallery, with Sarah Biscarra Dilley, Freja Carmichael, Léuli Eshraghi and Lana Lopesi.

http://www.vanartgallery.bc.ca/exhibit…/transits-and-returns

[grabthembythehumanities-blog]

Project: Nuta’at Mingqusqat: The New Alutiiq Sewer’s Club

Organization: Koniag, Inc. / Alutiiq Museum

Granting Agency: Institute of Museum and Library Services (IMLS)

Grant Program:  Native American/Native Hawaiian Museum Services Program

Grant Period: 2013-2014

Description: Through a grant from IMLS, the Alutiiq Museum developed Nuta'at Mingqusqat: The New Sewer's Club—a project to educate and recruit developing adult skin sewers, create educational resources on skin sewing, and enrich community knowledge of the art. The Alaska Native art of skin sewing—in which Alutiiq garments are carefully and elaborately embellished with intricate handwork—has not been widely practiced on Kodiak since the early twentieth century. Alaska had few preserved examples of ancestral clothing to guide the group. On October 30, 2014, at the tribal Alutiiq Museum in Kodiak, Alaska, museum staff and a sewing group unveiled a caribou skin parka which the sewers constructed by hand and lovingly call "Little Lady." One of the sewers, Hanna Sholl, danced in the garment while others sang Alaska Native Alutiiq songs to welcome the garment to the museum.

Alaska State Senators: Lisa Murkowski Dan Sullivan

[goddardcollege-blog]

Beside the Salish Sea: a Roundtable of Listening and Witnessing

Beside the Salish Sea: a Roundtable of Listening and Witnessing brings together artists, activists, academics, and allies for a day-long gathering on Thursday, September 27, to begin a relationship between the Goddard College MFA in Interdisciplinary Arts program and the Indigenous tribes of the Peninsula. The Roundtable is hosted by ʔaʔk̓ʷustəƞáwt̓xʷ House of Learning, Peninsula College Longhouse. The event coincides with the inauguration of the new concentration in Indigenous and Decolonial Art.

The day begins with a tour of the exhibits of the ancient tribal village of č̕ixʷícən held at the Carnegie Museum managed by the Lower Elwha Klallam Tribe. At 12:30 pm, we will attend the annual Welcome to Klallam/S’Klallam Territory in the The Little Theater at Peninsula College, with the reception following in ʔaʔk̓ʷustəƞáwt̓xʷ.

The Roundtable discussion will be from 2:00 – 4:00 in room J-47-A at Peninsula College. Micah McCarty will facilitate the discussion, which will begin with presentations by Micah McCarty (Makah), Roger Fernandes (Lower Elwha Klallam), Elaine Grinnell (Jamestown S’Klallam), Robin Sigo (Suquamish) and MFAIA graduate, Storme Webber (Alutiiq/Black/Choctaw). This Roundtable is open to the public. Please contact JuPong Lin at  jupong.lin@goddard.edu for more information or to participate.