The drawings, taken from ledger books made by Native people imprisoned in the 19th century, were sold at auction in 2022 against tribal members' wishes.

As part of Hyperallergic’s Emily Hall Tremaine Journalism Fellowship for Curators, Brian Johnson explores the decolonial practices of Indigenous and Native American poster designers.

I hear students and friends alike ask where are our books and documentation? Where can I see our Native American design history?

Miss Chief, artist Kent Monkman’s alter ego, narrates the story of Turtle Island not as a settler allegory but from the perspective of the land itself.

The artist’s “landscape” paintings juxtapose imagery from Tongva culture with the architecture that was built over it, asserting an ongoing Indigenous presence.

In the 19th century ledger drawings became a concentrated point of resistance for Indigenous people, an expression of individual and communal pride.

The Diné filmmaker, musician, and activist whose work centered land rights, Indigenous liberation, and climate justice died in December at the age of 48.

From feature films to installations, the multidisciplinary artist explores the hybridity of identity and the unremitting impacts of colonization in North America.

In the limited-edition risograph comic Rezbians, Selam shares a solution for the scarcity of queer Indigenous representation in pop culture.

For almost three decades, Alan Michelson has attended to place, histories, and futures, and the lived realities of Indigenous peoples in North America.

The National Museum of the American Indian has hosted the event since 2005, attracting Native artists from across the country.

Professor and Cherokee Nation citizen Joseph Pierce will lead the  cross-departmental, interdisciplinary initiative at Stony Brook University.

Dennis’s exaggerated scenarios compel non-Indigenous viewers to confront racial dynamics that many people in the images choose not to see.

At the center of the acclaimed Abenaki filmmaker’s practice is her effort to counter White, colonialist versions of history.

The Onondaga artist has a propensity for cultural criticism — especially on the issues affecting Haudenosaunee and other Indigenous peoples, past and present.

Murals, flags, performance, and other artistic expressions define the ongoing struggle to protect lands threatened by rampant extraction of the so-called “white gold.”

Launched in 1962, the Micmac Indian Craftsmen collective designed notecards, tapestries, porcelain, and other objects that gained a worldwide audience.

Steven J. Yazzie and Patrick Dean Hubbell dismantle blatant distillations of Native visuality for profit that continue to commit and perpetrate harm against Indigenous artists and communities.

In a new show in New York City, Ashoona’s memory-based compositions infuse truth coupled with whimsy surrounding life in the Arctic.

Many worry that the broad language of the new changes will be abused by corporate manufacturers and undermine legal protections.

The Sunbeam Indian Arts Gallery booths at the Santa Fe Indian Market tell the story of a six-generation family of potters, guided by the inerasable legacy of their matriarch.

The 101st edition of the Native arts festival featured 800 artists and extensive programming.

Demian DinéYazhi’ says the Chehalem Cultural Center has "chosen to stand on the side of conservative extremism and fear.”

The city’s complex history of capital and violence is what makes the intersection of art and magic so potent, opening doors for healing and reparations.

Geanna Dunbar and Brandy Jones’s pavement mural in the province of Saskatchewan is painted in the style of traditional beadwork.

Teaching traditional Cherokee craft has always been, and will always be, a political act, central to the work of holding onto one another.

Speaking with Light addresses an Indigenous audience with a subtler message: we are now in the process of reclaiming our own representation.

The artist’s solo exhibition in Santa Fe transports viewers away from New Mexico’s adobe-clad chile-tinged capital city.

The Santa Fe gallery features Indigenous textiles and jewelry from the early 19th century to today.

An exhibition at the Museum of Indian Arts and Culture, curated by over 60 individual members of 21 tribal communities, paves the way for equitable collaborative possibilities.

The Stories We Carry displays the breadth and scope of the medium, and its inherent storytelling capacity.

A group of Native artists and others held a protest outside the stadium in Glendale, Arizona, where the Kansas City Chiefs and the Philadelphia Eagles competed for the championship.

The filmmaker and visual artist tells stories that speak directly to Native audiences while not over-explaining meaning for non-Native viewers.

Increased oil tanker truck traffic would "seriously degrade" the experience of viewing the canyon's Indigenous rock art, said one advocate of the site.

The artist’s photographs shine a light on the unseen, resisting colonial categorization and institutional biases around art made by Native artists.

Greg A. Hill, a senior curator of Indigenous art, was among the top officials who lost their jobs.

Diné fiber artist and sixth-generation weaver Tyrrell Tapaha expands lived experience and ideas about the future.

In She Who Lives on the Road to War, Rosy Simas combines installation and performance to address the immense losses experienced during the COVID-19 pandemic.

Self-Determined: A Contemporary Survey of Native and Indigenous Artists prompts questions about shared contexts and individual expression.

The conference organizers set out to see what Native practitioners are making, and what they’re needing or wanting in the realm of type.

Dating to circa 1100 AD, the Mayan Codex is said to have been painted by a single artist, recording the movements of planet Venus over the course of 584 days.

Some members of Minneapolis's Native community did not think Inkpa Mani was the right choice for a $400,000 public art commission meant to honor the Dakota People.

Since the discovery of natural gas reserves near Nine Mile Canyon two decades ago, conservationists have found themselves at odds with regional energy companies.

“Art has a place in helping people begin to understand the layers of this history,” says artist Randy Kemp.

The artist and former SWAIA chief operating officer and executive director has found a stable of dedicated collectors and a close-knit community at Santa Fe Indian Market.

Curator Amber-Dawn Bear Robe brings together historic and contemporary Native clothing designs at Santa Fe Indian Market.

First Nations, Métis, and Inuit leaders have asked for their cultural heritage to be returned ahead of the pope's visit to Canada.

The Utah site has been subject to longstanding contention over federal lands management.

“I’m focused on contemporary Native American stories, the modern-day ups and downs of that lifestyle, but I’m not trying to do it in a traditional manner,” the award-winning filmmaker told Hyperallergic in an interview.

The artist says she wants to “confront people with beauty and pride and complexity.”