Art for a New Understanding, an exhibition from Crystal Bridges Museum of American Art, seeks to radically expand and reposition the narrative of American art since 1950 by charting a history of the development of contemporary Indigenous art from the United States and Canada, beginning when artists moved from more regionally-based conversations and practices to national and international contemporary art contexts.This accompanying book documents and expands on the histories and themes of this exciting exhibition. This fully illustrated volume includes essays by art historians and historians and reflections by the artists included in the collection. Also included are key contemporary writings-from the 1950s onward-by artists, scholars, and critics, investigating the themes of transculturalism and pan-Indian identity, traditional practices conducted in radically new ways, displacement, forced migration, shadow histories, the role of personal mythologies as a means to reimagine the future, and much more.

In As We See It, Suzanne Newman Fricke invites readers to explore the work and careers of ten contemporary Native American photographers: Jamison Banks, Anna Hoover, Tom Jones, Larry McNeil, Shelley Niro, Wendy Red Star, Beverly Singer, Matika Wilber, William Wilson, and Tiffiney Yazzie. Inspired by As We See It, an exhibition of these artists' work cocurated by Fricke in 2015, the book showcases the extraordinary achievements of these groundbreaking photographers. As We See It presents dialogues in which the artists share their unique perspectives about the history and current state of photography.

Crow's Shadow Institute of the Arts at 25 explores the first twenty-five years of a remarkable nonprofit printmaking and traditional arts studio based on the Confederated Tribes of the Umatilla Indian Reservation in eastern Oregon, the only such center located on a reservation community in the United States. Art historian Prudence Roberts, drawing from conversations with CSIA founder, the artist James Lavadour, narrates the institute's history from its beginnings through the establishment of a professional quality printmaking program and an international reputation.

A monumental gathering of more than 60 contemporary artists, photographers, musicians, writers and more, showcasing diverse approaches to Indigenous concepts, forms and mediums. This landmark volume is a gathering of Native North American contemporary artists, musicians, filmmakers, choreographers, architects, writers, photographers, designers and more. Conceived by Jeffrey Gibson, a renowned artist of Mississippi Choctaw and Cherokee descent, An Indigenous Present presents an increasingly visible and expanding field of Indigenous creative practice. It centers individual practices, while acknowledging shared histories, to create a visual experience that foregrounds diverse approaches to concept, form and medium as well as connection, influence, conversation and collaboration. An Indigenous Present foregrounds transculturalism over affiliation and contemporaneity over outmoded categories.

A groundbreaking exhibition catalogue of Native, First Nations, Metis, and Inuit photography from the nineteenth century to the present day   Photographs of and by Native people have long been exhibited in museums. All too often, however, such exhibitions have misrepresented vital cultural and historical contexts, neglecting the depth of practice, supporting scholarship, and Native perspectives relevant to the work. By developing a broadly representative curatorial council of prominent academics and artists, more than half of whom represent Native communities in the United States and Canada, this book significantly expands the traditional discourses of photographic history.

A groundbreaking survey of contemporary Indigenous art and its enduring connections to the land The Land Carries Our Ancestors: Contemporary Art by Native Americans brings together works by many of today's most boldly innovative Native American artists. Jaune Quick-to-See Smith, one of the leading artists and curators of her generation, has carefully chosen some fifty works across a diversity of practices--including weaving, beadwork, sculpture, painting, printmaking, drawing, photography, performance, and video--that share the common thread of the land. This beautifully illustrated book features both well-known and emerging artists, from G. Peter Jemison (Seneca Nation of Indians, Heron Clan) and Kay WalkingStick (Cherokee Nation of Oklahoma/European descent) to Eric-Paul Riege (Diné) and Rose B. Simpson (Pueblo of Santa Clara, New Mexico). Smith brings her personal perspective to the Native American experience and Indigenous connections to the land.

What is American Indian photography? At the turn of the twentieth century, Edward Curtis began creating romantic images of American Indians, and his works--along with pictures by other non-Native photographers--came to define the field. Yet beginning in the second half of the nineteenth century, American Indians themselves started using cameras to record their daily activities and to memorialize tribal members. Through a Native Lens offers a refreshing, new perspective by highlighting the active contributions of North American Indians, both as patrons who commissioned portraits and as photographers who created collections.

Fall 2020 issue focuses entirely on photography by Indigenous creators.