If you are a planning a visit to the Nations capitol, the National Museum of the American Indian in Washington, D.C. is known for its dedication to indigenous art forms. In addition to the NMAI, there is another art collection on display until March 18th by both Native and non-Native Alaskan artists at the Corcoran Gallery – arguably the oldest art gallery in the United States – titled Decolonizing Alaska.
The Corcoran Gallery, with its white marble, sweeping staircases, tall ceilings and gigantic bank vault door, now surrounds visitors with indigenous works. The works include:
A traditional mask with vibrant colors such as Between Two Worlds by artist Ben Schleifman:
A cosy loveseat ‘not made for sitting,’ called the Ectoplasmic Salmon Settee by Ray Troll & Donald Varnell:
And a dreadlocks art piece titled the Blonde Shaman by Rick Tagaban.
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Asia Freeman, the Decolonizing Alaska exhibition curator, hopes that the exhibit will challenge people to reconnect to the indigenous influences of Alaska while decolonizing minds from a non-Native narrative.
“The exhibition’s intent, to explore a complex discussion as a critical part of democracy,” said Freeman. “It’s a time to consider that Alaska, a place we think of as a distant edge, might actually be central to global issues and histories, like climate change and colonization.”
This exhibition reminds its audience that decolonization is not an indigenous movement but a people’s’ movement by including both native and non-native Alaskan artists. “Decolonization requires both the colonizer and colonized to work for a better world. The effort can only be as big as the span of its engagement,” said Freeman.
Many Decolonizing Alaska exhibit artforms speak directly to the concept of decolonization.
In Citizenship (2015) artist Crystal Rose Demientieff Worl superimposes a traditional portrait of an orca over the official U.S. citizenship document of Worl’s great-grandfather, John Thlunaut.
According to Worl, her great-grandfather had to disclaim his identity as an “Alaskan Indian” and get signed approval from five American citizens representing the American government, the educational system, the military, and the church. Although she recognizes that this document could never destroy her family’s Tlingit identity, she gives thanks for the decision her great-grandfather made: “To say that I am grateful would be an understatement. My ancestors thought of me when they made hard choices.”
Another art piece at Decolonizing Alaska plays on the contrast between factory-processed food such as fish sticks with traditional Alaskan techniques of using fish in a culturally responsible way.
In Annette Bellamy’s Fish Fingers, Bellamy molds fish skins around her fingers which emulate the fried and infinitely reproducible commodities found on the frozen food aisle of every grocery store.
Bellamy’s art – which involves the catching, preparing and eating of local fish – is an attempt to decolonize the systems of factory trawling and fish-farming that threaten Alaska’s natural resources, including fish.
Susie Silook’s basswood, antler and walrus-whisker sculpture, The Healer, ND demonstrates the artist’s long journey from childhood trauma to “end stage, near death alcoholism.” and works with the metaphor of carving and re-building to create a new, personal identity. As Silook states,“healing from this is possible.”
Another work is Holly Nordlum’s portrait of her younger brother: Drey, made with beercaps on wood, which tells the story of how her brother was separated from his mother because of an alcohol-related incident, bounced around the foster system, and ended up in the family again.
“We’re interested in transgressing borders – not in a disrespectful way – but in a way that challenges the simplistic and oppressive ways of inscribing identity, economies and culture” said Freeman.
“It’s only through the transgression of political borders that we can truly self-determine.”
The Decolonizing Alaska exhibition is on display at George Washington University’s Corcoran Gallery until March 18th and will continue to exhibit throughout the country.
For more information, photos, and future Decolonizing Alaska exhibition dates please visit the Bunnell Street Arts Center website.
Follow ICMN’s DeLesslin George-Warren on Twitter at @DeLesslin.
