Laura Ortman’s creativity in musical composition is uninhibited, fascinating and complicated—she is one who creates trends.
Luzene Hill’s installation art is an expression of her belief in Native American women reclaiming their personal and cultural sovereignty.
April Stone-Dahl is attempting to revive an ancient art form, by learning and teaching Black Ash basket weaving, that no one else in her locale is doing.
Dyani White Hawk’s dynamic multimedia paintings come from an inward inspiration of reflections and contemplations that intrigue, engage and draw viewers into the wonder of her work.
We are saddened to report that Amelia Cornelius walked on in early 2016 after lifetime dedicated to passing on tradition in her family by teaching the next generation how to make traditional Oneida dolls the same way her grandmother taught her.
Brien’s rebar sculptures capture meaningful symbolism of the Native Plains life and may also be a metaphor for the life of a peaceful, humble warrior.
Art curators, students, professors are studying Jim Denomie’s work and more and more are publicizing their learning of the intricacy, satire of his paintings.
Pat Kruse is one of few actively practicing traditional birch bark art who is learning from and teaching about his museum research in order to revive knowledge of traditional Ojibwe birch bark designs.
Maggie Thompson’s fiber art is relevant as the work draws upon our human emotions and is the core for the narratives that can be found in her textile designs.
Kelly Church comes from a long family line of Anishnabe black ash basket makers. She is also an Art activist working to perpetuate the traditional practice before the Michigan black ash trees become extinct.
Frank Big Bear first gained artist recognition for his colored pencil drawings, but recently made a radical shift to collage and painting, and in the process has garnered new praise for his work.
Layli Long Soldier’s writing is keen, pensive and deliberate. She thoroughly examines the construction and deconstruction and meaning of her message in order to imbue each verse with the desired deliverance and power.
As a novelist, poet and essayist, Pulitzer nominee Linda Hogan writes with a commanding style and an introspective touch that moves readers.
Laura Da’s writing has a range of voice that artfully brings distance, time, and sense of place together in an eloquent transitional blend of writing forms.
Throughout his career, performance artist James Luna’s work has rejected the general public notion of “Being an Indian.” Now he is creating a new multimedia performative and installation work that examines “cultural authenticity”.
David A. Boxley is a master carver whose intricate designs pay homage to his ancestors in order to ensure that the art form that was almost lost endures.
Stephen Blanchett’s musical mission is reflected in his work as a member of the band Pamyua, who are known for fusing traditional Yup’ik drum songs with contemporary sounds.
Clarissa Rizal nurtures her creative vision by incorporating a deeply rooted daily spiritual practice in her traditional Tlingit button blanket robes, Chilkat robes, Ravenstail robes and weavings.