Jaune Quick-To-See Smith Lecture at Portland Art Museum


LIZ LAMBERT: Welcome. Could we have everybody grab
the last little bit of food that they have on their
plate and sit down? We are just about to begin. First of all, welcome very much. I’m Liz Lambert. I’m the president of the
Native American Arts Council here at the Portland Art Museum. And we want to welcome all of
our members, OUR council members. But we also want to welcome
all of the guests that are here this evening. We’re delighted to
have you, and so happy that you could come
out on a Friday evening and enjoy meeting this
wonderful artist with us. The Native American
Arts Council, see we can’t let an
opportunity like this go by without telling you a little
bit about what we are about. The Native American Art Council
is a group of people who really enjoy Native American art. We work and learn about the
Native American collection that is in the Portland Art Museum. We travel, which is wonderful,
to wonderful far and near sites, and learn about Native American art. We also love to help
the museum collect pieces of Native American art. And we have Kaila Farrell-Smith,
whose work we just recently collected. We have some Lillian Pitt,
and she’s here this evening, and we’re hoping to
sometime get some more. And we’re working constantly
to make collections and add to the museum’s collection. Our next event, for those
of you who are members is the December 12th holiday
party, and we hope that everybody is able to come to that. If you’re interested
in joining us, you could still make it
to that party if you wanted to become a member of the
Native American Arts Council. You need to be a member of
the Portland Art Museum, and then you can join the Council. There are seven councils. We think were the very best council. But we certainly have a great
time and we invite you to join us. And there’s membership
materials back at the table where you signed in. There are books available by Jaune. There just a few left,
so if you’re interested, they’re back there at the table
that’s on the right of the door as you came in. And they were ordered by
the museum, and that’s all the museum has at this point. So if you’re interested, be
sure you grab one this evening. We’d also like to now
introduce Dina Dart. She is our curator. That’s another benefit that we who
are members of the Native American Art Council have,
and that is that we get to enjoy a lot of really
great time with our curator, Dina. And we certainly love
to have her here. So thank you very much. DINA DART: Thanks, Liz,
and thanks to all of you who for coming out tonight. On behalf of the
Portland Art Museum, I’d like to welcome Jaune
Quick-To-See Smith here, and in all of the wonderful women
who worked to bring her here, and her friends who are helping
to host her while she is here, to make sure that her needs are
met and that she’s comfortable. And we’re just thrilled
to have you here, Jaune. The books in the back,
just a quick clarification, aren’t actually written by Jaune,
but they are about Jaune’s work, by the curator of the
Georgia O’Keeffe Museum in Santa Fe, Carolyn Castner. It is a lovely little monograph. So there’s that. I’m not going to take up a
bunch of time telling you about Native American art
at the Portland Art Museum, except to tell you that we are doing
some really fun and exciting things and getting ready to– things are getting ready
to explode actually in the Native American collection. We are possibly going to
receive a half million dollars from the Mellon Foundation to
train native art historians. So two two-year paid
internship positions for pre-doc native scholar. We’re also writing a grant
to transform the discovery center into a center for
alternative voices, so a place where contemporary
native art can be shown and native people can create
the context that they choose to bring to it,
rather than some kind of curatorial context placed on it. So we’re trying some new things,
and expanding the terrain. And I’m quite excited about it. I have great support here, and
the Native American Art Council is a big part of that support. And so thanks to you
guys for providing the food, and the
atmosphere, and all of the work to put this together. And especially Mary Jo Hessel. I want to ask you up
really quick, Mary Jo. We have a little gift
for you for pulling this together and putting all this
work into hosting Jaune tonight. [APPLAUSE] This is Mary Jo Hessel. She’s been harassing me
for weeks about being sure there was enough
people to fill the room, so Jaune felt well supported. And she’s been worrying night
and day, and baking cookies. So bless you, Mary Jo. And with that, I’m
going to introduce Jaune so that we can hear from
her, cause that’s why you’re here, not to hear from me. Jaune Quick–to-See Smith calls
herself a cultural art worker. She uses humor and satire to
examine myths, stereotypes, and the paradox of
American Indian life, in contrast to the consumerism
of American society. Her work is philosophically centered
in her strong traditional beliefs and political activism. Smith is internationally known
as an artist, curator, lecturer, print maker, and professor. She was born at St. Ignatius
Mission on her reservation. Is an enrolled Salish member of the
confederated Salish and Kootenai nation of Montana. She holds four honorary doctorates
from the Pennsylvania Academy of the Arts, the Minneapolis
College of Art and Design, Massachusetts College
of ART and the Met, and the University of New Mexico. Her work is in collections at the
Whitney Museum, the Metropolitan Museum, the Brooklyn Museum,
Smithsonian American Art Museum, the Walker, the Victoria
and Albert Museum in London, and the Museum of
Modern Art in New York. Recent awards include a grant
from the Joan Mitchell Foundation to archive her work, the 2011 Art
Table artist award, Moore College visionary woman award of 2011,
introduction to the National Academy of Art 2011, living artist
of distinction Georgia O’Keeffe Museum New Mexico 2012,
the Switzer award of 2012. Wow. Please join me in welcoming
warmly Jaune Quick-to-See Smith. JAUNE QUICK-TO-SEE
SMITH: Good evening. And I’m really happy
to see all of you here this evening for
Mary Jo Hessel’s sake. I have to thank the Portland
Women in Art, of course, for their lecture
series for fall 2013, about the incredible
organization they put together. Marie civic, Prudence Roberts,
Rachel Siegel, Elizabeth Baillieu, Linda Gerber, Sue
Taylor, Christine Weber at the Portland
Community College system, which is, by the way, one of
the most incredible systems that Cat and I have seen. And we also want to thank Pam and
the Native American Council, Mary Jo Hessel, Dina Dart, Liz Lambert,
and all of you who have helped put this together this evening. I’m really touched by this. And of course I’m thrilled
to see my old friend here, Lillian Pitt, in the front row. Because that means a lot
to me to have her here. The two of us have been through
this for many, many years, and like two little road warriors,
we’ve had lots of battle scars that we could share. And my dear friend, Nancy Ziegler,
who went to first grade with me and then I lost sight of
her for over 30 years. And she came from
Seattle just to be here. So I’m thrilled about that. Finally, my heartfelt thanks
to Kat Griefen, co-director of the Accola Griefen Gallery in
New York, for her abiding faith and for her support of my work. And plus the countless
hours she spent in pulling this together
with Marie Civic and PCC to make this event possible. This evening, what I want
to do is because this is Native American Council, I want
to share some information with you. One is a little bit
about contemporary art, where it is today, and some of the
changes in contemporary native art. So I thought that
you would enjoy that. I showed some yesterday
in my other talk, but now tonight what
I want to do is– I just need a little
bigger desk here– is do that. And then I have a couple
of poems that I’ve written. They’re just short, but
they explain what I’m doing. And then Wilma
Mankiller wrote a book, and I want to read a
little passage from that for my work, which gives some
explanation about my work, my will to survive. And then I want to tell you where
the status of Native American art is today. And I want to share that because
you, the council, can make change. You can change things and
make something happen. So that’s what I would
like to leave with you. And maybe in the future maybe
do some further work with you. I would really like to do that. I want to start by
reading this poem, which explains something about native
art, that in the beginning art had no name. Art turned to the unseen. Turned the visible
that into the tangible. Art made the mysterious
less frightening. Art had purpose. Art had purpose. In the beginning, art was so
integrated in the community that music, dance, poetry,
painting, and the narrative were not separate entities,
and they had purpose. In the beginning,
artists were the shaman. Artists choreographed the dances. Artists blessed the heart with
soot and ochre on rock walls. And artists passed the
people’s history down. Through storytelling and
poetry, art had purpose. In the beginning, art
recorded life, art healed the sick, art celebrated
life, art uplifted life, art explained the mysteries. Art really did have purpose. Art had purpose. And in my estimation,
Native American art does still have purpose, because it
serves all of those purposes today. And I can’t say that totally
about all American art. But my belief in my 40 years
of traveling and preaching about Native American art is
that it does have purpose. And it does all of these things. Steve Jobs. Why would I use this? Steve Jobs said, “Here’s to
the crazy ones, the misfits, the rebels, the
troublemakers, the round pegs in the square holes, the
ones who see things differently. They’re not fond of rules. They have no respect
for the status quo. You can quote them, you
can disagree with them, you can glorify or vilify them. About the only thing you
can’t do is ignore them, because they change things. They really do. They really change things. They invent things,
they imagine, they heal, they explore, they
create, they inspire, they push the human race forward.” This is what the
creative process does. This is what critical thinking does. This is why it’s so important to
keep art in our public schools. “Maybe they have to
be crazy,” he said. “How else can you stare at an
empty canvas and see a work of art, or sit in silence and hear a
song that’s never been written, or gaze at a red planet and
see a laboratory on wheels?” And of course he believes
that he made tools for those kind of people. Artists do love Macs. They do love their Macs. Now what I’m going
to do is tell you, before I show you these
images of native art I want to tell you a little bit
about where native art is today. Some of the changes in the
contemporary native art community that I
personally witnessed include seeing more
Indian women involved. This is really true. Lillian and I have lived this. And young y-trained Indian
artists, we’re living this, and scholars appearing
everywhere across the US. A disappointment is
the lack of major, and I say over 100 pieces of
contemporary art, collections of contemporary native art. The Eiteljorg Museum,
in the mid-90s, asked me what they
should do with a grant. And I recommended to them
that they do a biennial, like the Whitney biennial. The Heard Museum had asked
me the same thing in 1986, and I recommended the
same thing to them, and I asked them to please
collect from every biennial. The Heard did not do that, and their
biennial ran for about 20 years and they dropped it. But there is very little collecting. The Eiteljorg began collecting
as I suggested to them, and they do have a nice collection. I gave the Missoula Art Museum
money, and a promise of all of my prints through my lifetime. And the Missoula Museum has
continued to make great strides, and I would say they
have the largest collection of contemporary native
art on the Northern Plains. And I’m still working
on that collection. You know, a disappointment
is this lack of major collections by
either private collectors or public and private museums. And when private collectors
tell me, or museums, that, no, we can’t
afford to purchase. I always say to them, you can
afford to buy prints or drawings. You could afford to begin that way. And once it’s like a collection
together, it’s like a magnet, and you will bring in other
collectors and collection. Further, there are very
few scholarly books on contemporary native art. The few that mention
contemporary are 90% artifacts and traditional art from history. There have been no major
traveling exhibitions with a significant
catalog of both men and women’s contemporary art,
such as the multiple exhibits of African-American and Latino art. And one day I just went on the
web and I counted 60 major books and exhibits on African-American
art that are currently touring, Latino art is something similar. So this is the dilemma that
we have, and it’s going to take a while for this to change. But I see that your
group here in this museum is working on making that change. So you are one of the few in the
United States, and the only one I know that has a Native American
Arts Council inside the museum. So you should be very proud of
what you’ve accomplished here. Now I’m going to tell you a little
inside secret about native art. Native art generally
has no horizon line. And the reason for that
is because when we pray, we pray to all four
cardinal directions, because the sky and the
land are intertwined. Even ground water
recharge under the ground, it’s all connected together. So like when I saw science
books when I was a child, and you would see or
cloud up here and then you’d see the rain come out,
it would go into the river and go down the river to the ocean
and come back into that cloud. That was what we saw for science. In the native world, the water
might come out of that cloud and come down to Earth,
but then it always traveled through wood tick, deer,
the human being, through the skunk, the crow, and all of that before
it ever, ever went to the ocean. Sorry, I’ve been doing
a lot of extra talking. I have a lot to say, and
I’ve been given a few places to say it here this week. So what I’m saying is that
generally when you see landscapes by Native Americans, you’re
going to see like often things that are kind of map-like. And it’s not that any Native
American person really thought about it or did it intentionally,
on purpose, or said, oh, I like what that
Indian is doing, so I’m going to do this over here. No, it’s when these
things happen, because I spend so much time looking at
other native art besides my own and then trying to
figure things out, it’s taken me years to
come to this conclusion. But now I see why. And on the right-hand side,
Ed Saxon, who’s a Navajo, left is Navajo also,
he’s got a horizon line, but there’s a good reason for that. Because Jimmy Abeyda
left the reservation, went to the Chicago
Art Institute, and when he came back to the
reservation he began teaching. You see a lot of Navajos
with a horizon line, but you don’t see that in
all the rest of our tribes, unless sometimes like Kay Walking
Stick, who lived in the east and went to the institutions there. And she continues to do that. But now she’s putting
native design over the top. And on the left, Conrad House
has what I call Indian Art Deco. So you can see Art Deco in America
came from Native Americans, by the way. So we have lots of
buildings in New Mexico, but also in New York and
other places, with Art Deco. And those designs
didn’t come from Europe. In Europe they came from
Austria from the Bierstadt, and not from America. So there’s a difference there. And we’re not taught that in school. So here you see on the
left side, Conrad House. And this is a story about his
grandfather, but you see the sheep, you see the rain clouds. He’s got a whole narrative
going on inside of this. And they have a large family, and
Conrad learned to speak Navajo. And Navajo has the old
Shakespearean style, and then they have
the new street lingo. So like my friend Emmi White Horse
only speaks the street lingo. The reason why Conrad learned
this old Shakespearean style was because his grandfather
spoke that style. But he was a medicine man,
and he sang the songs. And now like Jewish people, if I
have any Jewish friends in the room here, like Jewish people who go
through synagogue as children and they begin singing the
Torah in the beginning, this is how Navajos
learned the language. This is the old way. They sang the songs. And the grandfather
sang the songs to him, so he learned this old style. And I remember one time
we were in a room together and Emmi and he were arguing
about the words cat and horse. And they each had
different words for them. But if you can imagine in
your head Shakespeare and then street language, that
was the difference in the Navajo being spoken
today and the old Navajo. So at any rate, I got
off track right here. Now I have a clicker here. OK, tell me how I’m moving
on here to go forward. Where do I to go to go forward? OK, good. Sure. Now some people would question
whether this is landscape, but for Indian people
this is landscape. All this is, is landscape
with something in. Its landscape with activity in it. It’s got Indian activity. So it’s really landscape. So she’s got a blanket in
the upper left-hand corner. And she’s got cars
decorated for Crow Fair. This is Wendy Red Star, by the way. And then down in the lower
left-hand side she has a res car, but she’s done something different. And this is contemporary. So you must understand that
she’s mixing photography and hand work together. And when you see this, this is like
kind of Andy Warhol-ish, isn’t it? So I find this really exciting when
I see young people doing things like this, because this is
taking things that I know about and then putting it
into a new context. And somebody else would look
at this probably in New York and say, why would anybody
take a broken-down car and then put it in this
sweet field of pink? But for me, it just makes
me chuckle every time I see this as a native person. I mean, to think about
all those reservation cars that we have at home, and then to
see it in this sweet field of pink, the way she’s placed it,
and then this negative. And over here are
HUD houses and she’s just stacked them up
kind of totem-style here, and puts some Lichtenstein
swishes of paint through there. And this, too, makes
me chuckle and laugh, because over the years
whenever I’ve gone home or to another reservation I like to
take photographs of the HUD houses. Because people try to make
them uniquely their own, and they’re always the same
size, and the same style, and they all look alike,
from Alaska to Florida to New Mexico to Minneapolis. They’re all the same. The government builds
them all the same. And then Indian people decorate
them and try to make them different. So that one, too, dazzles me. Emmi White Horse, who I went
to school with many years, ago does oil stick on paper,
and then she glues it to canvas. On the left is crystal woman with
her horse brands and other things that she mixes together from the
reservation plants and things that she sees. On the right is Seawall. These are about 40 by 60. Here are two Kay
Walking Stick pieces. And I talked about the landscape. And she does make a horizon line. But now she’s begun putting
these abstract images over the top of some
of the landscape, which remind me of [INAUDIBLE]. Although she’s
Cherokee from Oklahoma, she’s been doing a lot of
work from Idaho and Montana, around my reservation, and
around the Plateau Reservations. Julie Buffalo Head. Who’s Pottawatomie, does these
what look like children’s books. And they’re not really. They tell very serious stories,
and really American history. On the left side, you’ll see the
Columbus ships in the bathtub, and you’ll see coyote like
aiming his arrows toward those. And she calls them the
Columbus prophecies. And there’s a self-portrait of her. She’s often in the
picture somewhere. And on the right-hand side
is Lone Ranger Rides Again. And so you know we have
that movie coming out, and of course the
Lone Ranger can talk, and Tonto only talks and baby talk,
so she’s making fun of that here. And she’s one of my
favorite new young artists. John Fedorov lives
in Seattle, and he’s half Navajo and a half Russian. And he’s a really bright young man. He’s made a city picture here. Now there is a skyline
here and a horizon line, but he’s kind of xed
things up here, and he’s talking about the spirits in
the land who reside everywhere. And so for Indian people, all of our
stories come out of the landscape. And he’s showing that
the clouds are talking. He’s showing them as real people. On the right-hand side
you see Jeffrey Chapman, who’s Chippewa from Minnesota,
Lillian’s friend of mine. And this is a creation story. The little otter that’s under
the door knob is Genesis. In Genesis, you know you know
how the world was formed. But here, this is after
the Great Flood the otter brings up this creation
story for Chippewa. The otter brings up
little bits of dirt from under the waters and forms an
island for the people to stand on. So we all have these
creation stories, and actually you could
go around the world, and I wish some writer sometime
would do that and bring forth creation stories. Because they’re all different. Mine is different on my reservation. The raven, of course, brought
the sun in on the Northwest coast up here. Coyote helped the [? modkin ?] turn
on the lights on my reservation. So here you see this wise
elder peering around the door. Often if you go to
the reservation you see the elders who are very quiet,
and they’re just watching things and they’re watching
this passing scene. And Jim Denomie down below,
who’s this incredible Chippewa man, Ojibwe, he’s showing
the trees that are cut. And you see the horse flying
through and a rocket flying through. Often his narrative pieces
sometimes are more fanciful. But sometimes you can see serious
stories in what he’s showing you. And Ernie Papillon, who’s
a Blackfeet friend of mine who passed away this past decade. And he believed that
a good way to die was to die as an old
man with his paintbrush. But you know he paraphrased
that from Little Big Man, from the movie, this
is a good day to die? Remember when the grandfather laid
down and then the raindrop came and he opened one eye and got
up and decided, said today’s not the day I’m going to die. But Ernie made this painting,
and Ernie quadriplegic, so he had to have a nurse put
the paint brush in his hand. He could paint a 60 by 90 painting. He’s got some of the
most lush paintings that I’ve ever seen
in Indian country. And I adored him and his art. And so you see his wheelchair
over here taking off. He wanted to get married. He wanted to have a regular life. So he painted his dreams. So you see down below down here? He’s dreaming he’s in a horse race. When he was young, he raced horses. Then he went to
Vietnam and came back and then he had a bad accident. Over here you see the Buffalo
coming across the Rim Rocks. I’ll mention that
later you’ll see why. And he shows himself
at peace out there with his best friends,
a wolf and a buffalo. He’s got his tepee. He’s got everything he
needs in life right there. And now here’s a different
kind of landscape. Here’s something that’s
really edgy and new. And this is Steven Yazzie, who
is Navajo, lives in Arizona, married, got a child. And these are kind of
apocalyptic paintings. But you know I also see
Edward Hopper in here. So I find that really interesting
that he can take Edward Hopper, and then instead of
having empty rooms with a single human being,
a nude standing there, he’s got this coyote standing here. You know the trickster
coyote, the trickster. I find that really interesting. Here’s some more landscapes
here, some without horizon line. And Norman Akers, who’s
Osage, in Oklahoma, and teaches at the
University of Kansas, makes these incredible
prints and paintings. Upper left is a painting
with Osage symbols he’s. Very religious and he
attends ceremonies. And here you’ll see Star Wallowing
Bull who’s Arapaho and Chippewa. These are all– I’m sorry, this is
Frank, his father. Frank Big Bear. And the reason why they’ve
each got his first name is that they had split up early, and
he took his mother’s Arapaho name, Wallowing Bull. So Frank Big Bear,
this is the father, does these incredible
drawings with colored pencil, which I just find so tedious. And yet they’re just brilliant. When you see them, they’re
velvety and gorgeous and lush. But now here’s the son. The two upper ones, you
can see he’s noticed, there’s a resemblance to his
father, and yet he puts pop symbols, mixes them in with the
old traditional things. And also there’s a feel here
of George Morrison from Canada, not George. The man who passed
away just recently. What’s his name, Morrison in Canada? No, not Norville. Oh well, I’ll think of it. I’ll think of it in a minute. And then I’ll break into something. OK, right down below is Andrea
Carlson, who’s also Chippewa. Now these are all
Chippewas I’m showing you. I’ve show you like four,
five Chippewas here. And no one’s work resembles
except for father and son here. And she’s talking about
consumerism, but she takes images from Japanese ceramics. She takes it from all
over and then kind of collages these images together
with paint and colored pencil. And of course here’s our
old friend Joe Fedderson, who has been here in
Portland many a time. I’m sure everyone in
the room knows him. He’s a longtime friend
of Lilian’s in mine. And he’s Plateau like I am,
and our tribes are related. He’s Okanagan and I’m Salish, but
our tribes speak the same language. And for years and years he
had a little basket collection of Plateau baskets,
and you know Joe thinks deeply, carefully, meditatively. I mean everyone who knows him,
he’s a deep thinker, very quiet, and it takes him a while to
move, where Lilian and I just get out there and we do that. And then we make mistakes and then
we have to back up and do that. He doesn’t do that. He’s just a guy who
steps very carefully, cautiously, one step
at a time, and then he makes these brilliant things. So he uses bar codes, and parking
lot designs, and electrical towers, and he’s making these
big glass baskets now that we saw yesterday that are
like this big around and this high. So he’s doing these incredible– OK, here’s a handmade basket
that he wove on the left. Because he just wanted to
know how they were made, so he taught himself to weave
unless Nettie [? Kootenkai ?] or Pat Golden, Pat Courtney
Golden, she taught. OK, so he learned. OK, there’s one of his glass
baskets with the power, you see that those power lines
on the left, in that case right on the left. And then that installation,
those are all prints. They’re prints on
paper, one at a time that he put together until
he made that huge mural. I mean that’s the way he thinks. OK, now what I’m going to do is to
show you quickly some new ceramics. This is Les the Namingha, who
is a young man in Southwest. His father is Dan Namingha. Yeah, Dan Namingha. And he’s doing new
things with pottery. And I’m always amazed when I look
at how he pastiches things together it’s like a big collage. And he just throws it in there. And look, he’s got words in there. He’s just like buzzy, he’s
going to town with this, and I get so excited when I see
the kids doing stuff like this. And of course Diego Romero, who has
become so famous, and so expensive. I guess that goes
with the territory. And so look at like he uses
membrane pottery as a place to take off to tell his stories. And of course here he’s
showing Cortez cutting off the feet and legs and
hands of an Indian person, because that’s what happened
there in the Southwest. So there’s always this
friction between the Indians and the Hispanics over Spanish
and Indian because of this. So we have to have statues
here with the Hispanic stuff. And then every once in
a while some Indians want to put up a statue
with the feet missing and then it causes a big ruckus. So you adapt a little of both. Lisa Holt and Harlan [? rianna ?]
[? coaches ?] and Santo Domingo, these are graffiti kids,
there’s no doubt here, but they’re also using Spanish
colonial art from the 1600s. It’s got old and new
all mixed together. And every time I see
their stuff I just get so excited, because it’s
all this new stuff that’s going on here with these kids. I mean, they have no fear. They’re fearless. Talk about fearless, here’s
Rick Barto, with the new polls that he made for NMAI– that’s NMAI in the background–
the new Indian museum. And he’s got a coyote. He always has coyotes in everything. And this was a lithograph that I
just purchased recently, so that lithograph down here in the corner. And then this is
one of his drawings. You see he draws exquisitely. He’s a masterful craftsman. Speaking of masterful, this
is a woman whose work I’ve watched for many, many, many years. And I remember when she used to
make small little sculptures that would fit in your hand like this. And she did this and then she
just like strutted her stuff and went out there. Well, she got carpel tunnel. That was one reason why she
stopped making the small stuff. And she had to come
up with a new plan. And when she came up
with her new plan, she started doing things
like this pole over here. And She Who Watches. And then she got involved Maya
Lin and that whole Columbia River project. She’s got several pieces. If you haven’t seen this, this
is some special place to visit. You see some pictures
on the web of people coming and getting
their picture taken. Coming from Japan just to get
their picture taken under that arch right there. So it’s a worthwhile visit to
tour her public art pieces. This young man, Jeffrey
Gibson, is Choctaw Cherokee. He lives in New York and
he’s making, in Rochelle, this is what I wanted
you to see today. Are you here? Can you see me? OK. So this is a box with what he
called [? parflage ?] designs. No, no, no. It’s futurism or a
Russian constructivism. And when you say, oh, these
are [? parflage ?] designs, you tell some curator that, and
then they have to believe that. They will believe
that if you say that, and you say it with authority. But we know differently. And so that’s why no
[? parflage ?] we ever saw. So OK, and over here he
found all of these boxing, what do you call
them, punching bags. He found these, and
then they were on sale, that’s like a yard
sale or something, and he got them really cheap. And he decided to cut
up his paintings, which weren’t working anyway,
and just put them on here, and now they’re working. And so people are
really loving this. And he’s got jingles on here. And he sometimes puts beadwork. But he doesn’t do the beadwork, he
pays somebody to do the beadwork. I mean that’s when you really
begin to be an artist, when you pay somebody to do this. [LAUGHTER] And some sculpture. I’m going to show just a couple of
sculptural things here, Rick Barto. And then and then
this is Bob Haozous, who’s the son of Allan Houser. And on the right-hand side
is here are pieces that he made for the airport in Phoenix. And so I love all of his little– I mean, notice it at first glance,
it looks fairly simplistic, but then when you
begin to look at it, and you notice that
the hummingbird is over here, which is a Southwest
symbol for Indian people, particularly Hopi people. And then you notice that that
little hummingbird looks almost like mosquitoes, but
no, they’re airplanes bombarding the little hummingbird. And then if you look on the left
you see there’s a crow there, but all of a sudden inside of
that is a little hummingbird. And so he’s got a marvelous
way he tells his stories. On the left is a quite
a bit more upfront. I mean, he made this Apache
pull toy of a cowboy. He took it out on the mesa and then
he shot it full of bullet holes. That’s his Apache pull
toy for his children. So that one has a bit more realism. By the way, Jeffrey
Gibson, it was just announced the other day he’s in
the Whitney biennial in New York. And I’m going to tell you that
we have two Indians in there this year, and this sets a record. And Jimmy Durham’s been
in there one other time. But I can’t think of– FIRST children ever made
it the Whitney biennial. So no one else has. I suspect that Marie Watt is
probably going to be next, I would guess. But Jimmy Durham is back in it. Jeffrey Gibson is in it. So to have two Indians
in it is pretty exciting. These are some sculptures of his. And of course he’s been
out on the leading front and showing in European museums
for the past 20-some years. And it’s pretty exciting that he’s
going to come back to New York. There’s quibbling
about his heritage, but he’s been writing
about Indian art making art that we see as native,
and I’m proud to claim him. What I want to tell you is
that some of these artists are now very conceptual. And you see those two baskets
with laundry down at the bottom. And I had to write
this down because I couldn’t remember the exact words. But these are shrouds and swaddling
clothes of de-commissioned saints. I mean, not two baskets
of dirty laundry, but shrouds and swaddling clothes
of de-commissioned saints. And he was doing that when
there was all the brouhaha about our Catholic priests in
this country and all those things going on. So he’s got a terrific
sense of humor, and I always am
dazzled by his stuff. And of course Marie Watt, your
young star here in Portland. She’s just going to
make you all so proud. I mean there’s just no
two ways about this. And you know her blanket poles. You’re going to run out
of blankets, though, at the rate she’s going, because
she’s making stuff for museums all over the country and Europe. So you are going to have to speed
up that blanket manufacturing here. And that pole in the
middle is actually wood. It’s cedar. She gets a CAD/CAM
and then puts the– that’s all taken from, computerized. It’s all taken from a computer. On the left is a huge tapestry,
kind of a Saul [? Louette ?] kind of tapestry in a way. But this takes huge sewing
circles and volunteers to come to her house
for a bowl of soup to help her sew these
things together. And again, maybe it’s going to
take people, more and more people to come in so these for her. Now this is a man in
Seattle who 30 years ago was transcending traditional art. He would make carvings like
on the right-hand side, but then he would cut them all apart
and then repaint them in a new way and put them back together. He’s Klinkit. His name was Jim Schoppert, and
I used to just adore his work, adore him, and then he and
then he died one day suddenly, which is very sad. It’s a great loss to
the Indian community. But he was doing these
things way, way early on. These are some more sculptors. I just put them all
together in a group here. On the top left just ’56 Chevy
and that Dwight Billetdeaux, who’s Blackfeet, lives on
my reservation, has been married to three Salish women. So he’s kind of like part of our– we kind of claim him now. And then on the right-hand
side is Lorenzo Clayton, who’s Navajo, lives in New York. He’s a printmaker. This is a sculpture, and
even though it’s almost 2D, it’s only like maybe 3 inches thick,
and then sets against the wall. Has pictures of his family
on it here, and then Navajo symbols in it. On the bottom left is
Stockbridge Munsee. Native American Al Wadzinski,
who lives in Minneapolis, and he uses a lot
of yard sale stuff. And he puts it together and there’s
golf clubs and silverware, clocks, and everything to make big
eagles and things like that. This is about six feet high. It’s really a big piece. And on the right-hand
side is Nicholas Gallien, who just got an award
from the Eiteljorg Museum. And he’s often carved books into
faces, into his own face as well as other Indian faces. Here he’s carved cedar on one
side, put faces or hands– like there would be totems– and then just left the
wood on the other side. He’s a new, young, hot star,
somebody that you should all watch here, because he’s really moving. Now these are older artists. Here on the t-hand
side is Jeff Thomas, who’s photographed Native
Americans for years. This was featured in Art News. And then Mrs. White Man
Runs Him, who is Crow, was photographed by Kathleen
Wescott many years ago. And right below is
Jesse [? Kooteai, ?] who shows his self-portrait with
the Klinket mask over his face because that’s kind
of how he’s seen. But see now here’s another
new, young, hot star here. This is Will Wilson. Lives in Santa Fe. Navajo. Showing the environment
up at the top. And then down here on the left
side he shows himself as a Navajo, and then as a cowboy,
because he’s half Navajo, and I guess maybe half
cowboy like Marie Watt. But she says she’s half
Indian half cowgirl, cowboy. And then a student of his
on the right-hand side who dressed up and then
had her photograph taken. So some more photography. Jolene Rickard up at the top,
shown as part of the three sisters in the ground. The Iroquois say our faces
come from beneath the ground. And if you think about it for a
minute, the mother eats the plants, the plants go in the
belly, feed the baby. Our faces do come from
beneath the ground. It’s only when we put ourselves
in those steel boxes that are going to float around
out in solar space, unless they’re dug for steel
first, that our faces do come from beneath the ground. We Indian people all believe that. That’s where that is the Mother
Earth and this is the solar dust. And this is what we’re made out of. So the corn, beans, and
squash, three sisters, she shows herself at peace there. And on the bottom is James Luna. And you notice that James
Luna has long hair on one side short hair on the other side. And he’s trying to show the
different parts of himself. He’s showing that he’s Mexican,
that he’s Native American. And he’s also called himself
pre-Columbian and post-Columbian, which works too. And then on the right is
Tom fields, who is Cherokee. Tom Fields lives in Oklahoma,
and he worked at the TV station in Oklahoma City. This is his son, Negosi, when
he first got his hair cut. For Indian people, haircuts,
going back in history, have been a very
difficult situation. Because the government
would take the children– all my family, all Lilian’s
family– off to school and cut their hair off. And then if they could
retrieve a piece of hair and hide it under
their bed, they would try to pin it on before they
came home, they were so ashamed. A lot of times you
would see Indian men have to pin their
hair back on to dance because it was a mark of
terrible, horrible shame to not have your hair. So Indian people have
this stigma about hair. So Negosi getting a haircut,
this is like a ceremony here. This is something really. So James Luna, ever the clown,
ever the performance artist, laid himself down in a bed of sand,
put little notes down the side about where he fell off his
trike he got this scar, when he took off his wedding
wing when he got divorced, he got that white line. And he tells you all these things
about his personal life right here. And then he lays in here
with his eyes closed. Notice his feet sticking out. And people actually– and he liked
to do it in the Indian museums where there’s lots of dead stuff– so then you see all the people
walking up close to him, and they would like and kind of
whisper about how real he looked. So he was ever the trickster. Now 20 years later,
here again here’s the young people
doing all this stuff. Here’s this young woman
who’s cheeky, Erica Lord. And she lays herself
down in this vitrine, and she does a similar thing to
recreate him and commemorate this. And the piece on the right-hand
side is I Tan to Look More Native. She went to a tanning
salon and put the tape on and then had her back tanned. Because she’s half
Finnish, half Inupiaq. Now here’s another
new young native who just got an award from the
Eiteljorg Museum in Indianapolis. She’s like 22 years old. She is Gerald McMaster’s
daughter, Merle. Do you all know Gerald McMaster? Let me see who knows Gerald? Two people. Whoa. So we need to do some training
with this Indian council. Gerald McMaster is the most
important curator in Canada, who actually was called into
the Australian biennial. And so his daughter had quite
an upbringing here with him, because he’s such a brilliant guy. And so you see her here
dressing herself up. She makes these incredible costumes,
and then photographs herself. And sometimes they’re
blood dripping on the snow, and they’re really drama. And it probably has a little bit to
do with native art, but a lot of it is her being dramatic. Here’s another. This is another native woman here,
Maria Hupfield, who’s Canadian. She’s Cree. She’s brilliant. She’s very bright. She’s gorgeous to look at. She came into my show in New York,
Kat hired her, brought her in, and she did a performance in there. And so you see her
performance on the two. And notice in my paintings, see
those spots there in the painting. And she came in and
visited all the work, and then she made up her
performance to go with it. And over on the left was
black ice, and she’s crackling some kind of plastic for the ice. In the center is some of
her sculpture, which is very [? Boisian. ?] She’s very
knowledgeable about art. And this woman here, Rebecca Belmore
has been in the Venice Biennale. She’s Canadian. She’s Cree. She is an incredible dramatist and
full of passion about everything. And this was two
pieces that she did. Notice like over here
you just even wonder how this thing is supposed to work. Look at how this is
all bound together. But this is kind of thing she does. Here’s something she did early on. She made this
megaphone, and there was like a big fight between the
government and the Mohawks. There was a protest, so
she got as many Mohawks out there as she could, and she
just wanted them to sound off. She set this out on a hill. They could just go up there and
they could swear at the government. They could tell them off. They could get it out of their– everybody had something to say. She got them all out there. It made everybody feel better. We’re going to breeze through this. My son is an artist. He’s a professor. He’s working with Joan Mitchell. He wears 10 hats. He’s a musician. He was going to be a rock star. These are his 30 by 40
model prints and drawings here of birds that we
see around us at home, also with our Plateau pictographs
all floating through the air there. And the self-portrait right down in
the corner here, there’s a canoe. But if you saw the
numbers on the canoe, you would see they’re Star Trek. It’s the Star Trek ship. And that’s my son there, that teensy
weensy little roadrunner out there. As I think of him, he was
always steering his own ship when he was a kid. And so he’s still
doing that to this day. Lillian can vouch for that. This is one of his paintings. This was about guns and all that. He loves comic books
and Star Trek, and so he turns into a kid when
he gets in the studio. And he puts all this
stuff together, but these are like huge, big sheets
of paper that I can’t even lift off the press. And here he’s stolen some
Catlin and some other things. We’ve been going to ceremonies
with my cousin at Blackfeet, the Medicine Lodge ceremonies. And this is our teepee at night. But so then he went
back in the studio and he made a teepee that’s
abstract in your home here out of neon that’s
about six feet high. And here are some paintings
that he’s doing right now. These are self-portraits. So they’re about 10 feet high. He gets bigger, bigger,
bigger than life. Here’s a family portrait, me
in the upper right-hand side. The original Quick-to-See. Here’s my son down below,
and my father when he was 16. Then when I was a
kid, I started school, I hadn’t seen crayons and paint. And I ate crayons and tasted
the paint and tasted the paste. Library paste was my favorite. The crayons were too
crumbly in my mouth. So they smelled good,
like Grape Nehi, but they didn’t taste very good. Then when I was 13, I went
to work for the Nisei farmers when I was eight. Got my Social Security
card and worked year-round after school and on the weekends. And I rode into town in
the back of a pickup truck to see Toulouse-lautrec, the movie. That was my first exposure
to an artist’s life. And I was so dazzled, so swept away. So I came home and I got my father’s
axle grease and I made a pallet. And I got the neighbor
man down the road to come, we didn’t
have a camera, and take my picture so I could be that. I didn’t know there
were women artists. I just saw there were men. And so I didn’t care how I got
there, I just wanted to be it. That was what I wanted
to do with my life. So then when I was 16 I sent away
for the famous artist course, in the back of the matchbook cover. My dad let me use my
bean-picking money to do that. And so when I got the books,
all the teachers were men, and there weren’t any
women in there again, so I thought they were all men. And then they all had
these cigarettes like that. So I took up smoking
because I thought it was going to transform me, it
was going to make me into an artist. I wanted to be an artist so bad that
I figured however I had to do it, whatever I had to do, I was
going to transform myself. I was thinking in my
own brain that it’s like when you wanted
to test God, remember you put the handkerchief
out in the lawn to see if it was going to be
wet or dry in the morning, and then you’d know there was
really God because you talked to him and you told him. Do you remember? Did you do that? No. When I went to art school at
Reinhard, we had to study this. You see this tree. This is the history
of art in America. There are two women in here. I think it’s Helen Frankenthaler
and I think it’s Georgia O’Keefe. There are no Indians
in here in the tree. There are no Indians. But they do have Egyptian
art and Greek art and some things like that. So remember this is
American art in there. So we’re going to
address that later. I’m going to show
you how we do that. And when I was in art school it
was all men from the Korean War. This is not the picture of my class. I couldn’t find it. And we only had the
nude men in the class. You know everyone has not just– you can’t say you got
there on your own. There’s just no such thing. So I made a list here of
people who have helped me. And these are not the only people,
but they are some of that people. And I thought you’d like to
see some of these people here. My m of course, my m my m my m
Neil, and my beloved cousin Gerald Slater. And then people like Jules Pfeiffer. I mean that’s not bad to get
help from Jules Pfeiffer. And Estevan Vicente and Miriam
Shapiro, Fritz Shoulder, Patty Parsons. I mean this is a
nice list of people. Scott Momaday, David Keel
at the Whitney Museum, Lucy Lepard, Bernice
Finebaum, in so on. And now I can add
Kat’s name to that list and Kristen from the Accola
Griefen Gallery in New York, and Kat who’s here with us. And as a young Indian, we did
our interviews with the paper, and so here we are
with the Grey Canyon. And these are brochures
and shows that I did. A newspaper came out and
photographed me with my horse. And noticed that painting
is on the garbage can. And so you could see
it’s kind of a set up. And then I did the first
photographing ourselves, the first Native
American photography show in the country of
contemporary photography traveling in this country,
and also went to Europe. The first traveling show of
Sweetgrass, Cedar, and Sage. There’s Gail Tremblay, there’s
Jelene Rickard, I am in the back. Who else? Who else do I see here? Where’s Lillian in here? Oh, she’s hiding behind that lady. Yeah, she’s there. Yeah. There you go. She’s right, yeah, OK. And then I had recommended the
biennial to the Heard Museum, as I said earlier. These are all shows that
I organized and that went to Europe or other
places or across this country. This is a photograph show that
I sent to Europe, to Scotland. This is a [INAUDIBLE]
conference that I helped organize many, many years ago. And here’s a show in
Germany with Dorothy Piper, a show that I organized
for a gallery in Santa Fe. I’ve been working with the
writers and in collaboration with the writers
for many years, so I have lots of book covers with them. And a public art piece in San
Francisco in the Yerba Buena Garden to honor the
[? Aloni ?] people. So those stones came out of Shingle
Springs out of Death Valley. And then there’s a wooden wall that
say, see yourself under this sky in this place. See the beautiful
designs over there? On any day you can see people
sitting here in Yerba Buena park in San Francisco, children
skipping on the rocks. You can see there I am
out there in Death Valley talking to the guy who helped me
bring the rocks into the city. And a trail in West Seattle. If you ever get there,
it’s a mile long. Joe Fedderson and I
have pavers and images. This is a collaboration between me
and my son at the Denver airport. We just finished this recently, and
we did the fancy design down here, which they turned down
because they’re going to tear this floor out in two years. So this is a temporary
fill-in terrazzo, so they just wanted three colors. But it’s drawing people. And you see there’s a flashmob. See they came to gather and dance on
that floor, which is sort of cool. My son and I do nontoxic
workshops in model printing all over the United States with
people who are handicapped. Here we are at the Georgia O’Keeffe. This is my son. This is my granddaughter.
one of my granddaughters. So there’s three generations
here working on this. This is my son, Neil, my
handsome son on the left there, with the
curator Peter Nguyen. And here we are in New
Orleans doing prints with children who have
never done prints before. So we were just dazzled by the work. That’s Neil there. And Neil and I just
collaborated on this kite. See this kite? It’s 12 feet wide and
about 5 feet high. It’s flying over the
Pishkins in Montana. Pishkins, everybody
knows that right? You know Pishkins, Buffalo Jump? I can see I have to come
back and talk to the Council. This is Oklahoma City. This is the memorial
in Oklahoma City. There were 12 people brought
in, landscape designers, interior designers. There was only one
Indian, only one person, only one artist on that crew, and
that’s me there, that was there. The governor’s award in New Mexico. And some old, old drawings. This is my short history
of the United States. There’s Snow White came from Europe
and she kissed the frog in America and he turned into
a ledgerbook prince, and they made all
the corn into Fritos, and they put everything up for sale. And then it says Made
in the USA in Spanglish. And I’ve got lots of big
icons for big paintings. So I have horses, buffalo,
canoes, women’s dresses, and then I have some
little sideline things like paper dolls for a
post-columbian world, and I’ve got smallpox
suits here that fit the whole family, because the
blankets came up in the canoes and gave us all smallpox. And there used to be men who
lost their hair, my father talked about this. And then we went to
the Catholic school and got a good
education that taught us how to be maids in Missoula
for the white people, and the men how to be gardeners. That was the extent of the
education in my family. And this is Mcflag,
because America gets Mcbig, Mcbigger, and Mcbiggest. This is a collaboration
between Neil and me. And he made these Mickey
Mouse ears and the tail. And speaking to the ancestors. So I have the Indian
people here talking to one another about pens
that write upside down, and about things that go to Mars,
and telling all the new news. I have some old news, but
I’m telling that new news. This is my self-portrait,
Made in the USA. I’ve got my enrollment
number on here. And it’s kind of interesting
because the newspaper had Three Dog Night coming in here for
sobriety on Route 93, and Three Dog Night were some
of the druggies in the 60s, so maybe they’ve changed. But this portrait is
the Vitruvian Man, in case you didn’t recognize it,
with a medicine wheel over my body. And a big, long canoe
with all the mascot things that people like for the ballgames. And then I have a
sign on the wall that says that if you like these gifts,
I’ll trade these gifts for land with white people. Because they like these gifts. And here’s another trade canoe. I’ll trade reindeer, grizzly bears,
eagles for these petroleum baskets here, because we have to
protect the endangered loggers. Here’s a map of the United States
with all European presence erased. All that’s left are the Indian
names of all these places. And then you see down here? And then up here is Nunavut,
which is the latest state. This is at the SAAM, the
Smithsonian American Art Museum. Dresses. I’ve done lots of dresses. This is like Mother
Earth, it’s a cut wing, but it really represents the earth. Who Leads, Who Follows? Which is always an interesting
notion when you watch the news. How did these idiots get into power? And then you notice
I have all the oh you have all the people
moving around here, because we’re all the same size. I have us all. And over here saying prayers,
because when the elders say prayers they bless the insects,
they bless the ripples in the water, they bless the leaves. And I put some of
the images in here. And then I have little
talking points in here about what you need to say prayers. Here’s my own body
wasting away with my limbs falling apart, because I’m old now. All these things. And the lizard is eating part of me. And then Turtle Island, it’s
raising its back in the Great Flood, and this is like a map of America. Here it’s got the moon and it’s got
a river, and it’s got petroglyphs. And on the right-hand
side is about rain, because we are in terrible drought. So I’m making paintings about
war and rain, water and war, and so there’s lots of
things in here about water. War on the left-hand side. Women are trapped, the
babies are trapped in war, I have Guernica images
here, a little Picasso. Have a little devil
up there at the left. And underwater. I mean underwater. The housing was underwater,
the Midwest was underwater. And then after all my drought
paintings, all of a sudden we got a flash flood in my
studio, and so I was under water. And on the left is a snake
dance, praying for the water, bringing the water. I’d been to the snake dances. That’s where the men carry the
snakes in their mouth at Hopi, and on their belts and all that. So I made another painting that
was supposed to bring water, which eventually did, as I said. On the right is a oppression. Notice he’s got his
foot on this guy’s head. So it’s a whole little story
here about being oppressed. And women’s bodies that carry
the plants, they eat the plants, and so you see it
going through her body. Notice there’s a rabbit
over here to the right. So there is always a
trickster in there someplace. And here the faces of America. This is a little painting with
lots of maize designs from America throughout the Americas. And in this piece, it’s called
“Sissy,” after Sisyphous, who has to climb the mountain. I’m showing homeless people
going up the mountain. My daughter was homeless
for awhile this past year. And here she is– this woman has a baby. She’s never going to make it. And these are piles of
expensive, luxurious things. Here, for rich people,
but here she is. She’s never going to make it. There’s one thing I want you
to remember, is to celebrate 40,000 years of American art. Not 200, not 400. 40,000 years of American art. And I want to share one
thing with you before Cat and I do a little dialogue. I would like to tell
you that culture here, which is what we’re talking
about tonight, is our identity. It makes us different
one from another. Culture is our history,
yours and mine. Culture tells us who we are. Robots and computers
will never have it. And if you take your soma
pill, you won’t have it either. Culture can be our creation myth. Did Coyote capture the Sun? Did a voice say,
“Let there be light?” Culture is our creation story. Did God on high create the humans
first and make them most important? Or did the Creator placed
the animals, the land, and the humans in a holistic world? Culture is our birthing method. Do we sit up, do we lay
down, or do we squat? Culture can be the way we
greet the newborn child. Is it washed in mother’s urine? Is it held to the morning
sun, or slapped on the back? Culture is our umbilical cord. Do we bury it? Do we carry it? Or do we throw it away? Do you all know what that means? The umbilical cord? I see the Indians are going mm-hm,
and everybody else is going, mm-mm. We’ll talk about that later. Culture can be our notion of beauty. Is it the tattoo on our chin,
the red clay in our hair, or walking with spiked
sticks under our heels? Spiked sticks. Who’s got six inch sticks
into their heels here? Culture can be the way
we bury our dead when we push a raft into the river,
make a clay mound above the ground, or sprinkle ash from a plain. Culture defines the way
we teach our children through stories about the plants,
the animals, and the earth, or through stories about Star
Wars, Spider Man, Dragon Ball Z, or SpongeBob SquarePants. Culture defines the way we dance. In a [? lombata, ?] the fancy
dance, a square dance, or the salsa. Culture defines our social
group, the country club, the Bloods and Crips, the RV
campers, or the bingo mafia. Culture is how we greet one another. Do we kiss cheeks, give handshakes,
high fives, bow, or kiss noses, rub noses? Culture is language slang,
humor, gestures, dance, religion, ceremony, clothing, music, art,
folkways taboos, literature, foods, oral history, institutions,
systems, governments, and more. That’s your culture. That your identity. It’s yours and mine. Thank you. [APPLAUSE] [CHEERING] SPEAKER 1: So I think
we’re– that was incredible. I think I’m speechless. That’s hard to do. Because we’re going a
little long, I think instead of doing most of
the dialogue between us, let’s take questions
from the audience, and I can insert some here
and there if we have time. Does that sound good? Great. Because everyone’s come to see you. We want to hear. Is there questions from the
audience about any of the material? Or especially, I think,
we want to hear maybe some more about your own work,
too, because we’ve got questions? One right there. Yeah. AUDIENCE: You know, I’m
really struck by your comment that there hasn’t been
any significant traveling exhibition or catalog of
Why do you think that is? Is it too hard? Is it too foreign? Is it too specialized? [INAUDIBLE] SPEAKER 1: And I’m going to
repeat the questions, just because I’m [? micced ?]
So the question, why has there not been a
serious major traveling show of Native American art? Why do you think that
that is the case? Sorry to make that short, but. JAUNE QUICK-TO-SEE SMITH: I think
all the reasons that you gave. Those and more. I mean, I tried to sell
a book to Yale press to [INAUDIBLE] And
[INAUDIBLE] said, oh, Yale Press said they wanted
anthropologists to write it, not art critics. And then [INAUDIBLE] said,
we’re a niche market. We’re a niche market. And then somebody else said, oh,
your population is too small. No one would be interested. So you know, there have been
traveling shows of Mexican art, traveling shows of Haitian art,
traveling shows of Cuban art, of Bosnian art, but none
of Native American art. And so, I just think
it’s time, you know? SPEAKER 1: Yeah. JAUNE QUICK-TO-SEE SMITH: I do. SPEAKER 1: I saw some
other too before. Yes? And now they’re gone? Is that the case? There you go. AUDIENCE: [INAUDIBLE]? JAUNE QUICK-TO-SEE SMITH:
What usually happens is I will go out to
do a gig like this, and then I look for the
nearest reservation. So like, when I was here 20 years
ago or something, [? Lillian ?] it took me out to Warm Springs. And I think I did a
slide show at that time. But I’ll do the model
print workshop, which takes some doing to get it set up. I’ll do it inside of a
museum, or at a school. And I especially– I’ve worked
just lately here, just lately, I’ve worked with veterans. And as you saw, the
porch in New Orleans, which was a poor district that
was flooded, and these were– these were children that
were disadvantaged children by any definition. With people who are
in wheelchairs, I’ve been going to places like that to
do these [? mall ?] print workshops. And often, I find people who
have not ever made a print, sometimes no art, like the veterans
when I worked with the veterans, everybody in that group
had never made art before. And then I went to a mental
institution in Missouri when I was there for that
show and brought a whole group from a mental institution. That was a new experience for me. It was a new experience for them,
but it was also a new one for me, because my son and I ran into
all kinds of glitches with that. But we had people there
from that institution. So yeah, I’ve been doing
this for quite a while now. And it’s always a joy for me because
monoprinting is like nothing else. It’s always luminous and beautiful. And you know, when we’re using
the ink that’s easy to wash up, people can take
something home with them. And there’s always a surprise,
and there’s always a success. You don’t have to know how to draw. It just comes out– it’s just beautiful,
no matter what you do. So it’s a win-win
all the way around. And I love doing it with people. I love seeing their faces of joy. Children, elders, in a rest home. It’s just a great thing. Any of you artists who
are here, I encourage you to do something like this,
because it’s really joyful. It really is joyful. Makes your heart feel good. AUDIENCE: Have you ever thought
about working [INAUDIBLE]?? SPEAKER 1: The question
is, have you ever had any experiences working in film? I mean, do you want to have
experience working with film, another way to tell your stories? – This is about my limit. I mean, having a film crew
in the back of the room. And so my friend
Nancy has telling me that she found videos on YouTube,
and I haven’t looked there, because I’m not crazy about it. But I’m kind of old for that. SPEAKER 1: We don’t agree. I think we probably just time for
one more question at this point. Yeah, go ahead. AUDIENCE: American culture
likes superstars [INAUDIBLE] Is there [INAUDIBLE]? JAUNE QUICK-TO-SEE SMITH: Oh, yeah. Of course. I SPEAKER 1: Who are the
Native American superstars? JAUNE QUICK-TO-SEE SMITH:
Well, have superstars, I guess you could say it that way. But actually what we have are
divas who think they’re superstars. [LAUGHING] SPEAKER 1: None are here
in this room, of course. JAUNE QUICK-TO-SEE SMITH:
I will tell you privately. [LAUGHING] SPEAKER 1: OK. One more. Go ahead. AUDIENCE: I’m a public art
teacher and a classroom teacher [INAUDIBLE]. I find that it is the
teacher, the future teacher. I just a [INAUDIBLE] to
challenge teachers to honor Native Americans and [INAUDIBLE]. I think we need to work [INAUDIBLE]. I think we need to work
with teachers [INAUDIBLE].. [LAUGHING] [INAUDIBLE] the history [INAUDIBLE]. JAUNE QUICK-TO-SEE SMITH: I agree. AUDIENCE: Have you ever thought
of doing a teacher’s institute or [INAUDIBLE] as educators
[INAUDIBLE] and I think that young teachers– I’m only 61, so I’m not
very young [INAUDIBLE].. But we need to be the bridges
for the next generation. JAUNE QUICK-TO-SEE
SMITH: You’re right. You know, I talked to a lawyer
about starting a foundation. And the problem I have is that
I don’t have enough wealth to start a foundation. No wealth. I got work. But my idea was to do exactly
that, was to begin the foundation to begin writing curriculum
for the public schools, because there’s a dire need
for that, a desperate need. So if you give me your card,
and I’ll give you my card, then what I’ll do is I’ll
write you little notes and ask you to do that. [LAUGHING] SPEAKER 1: And I
think on that note, we want to thank the museum
so much for hosting Jaune and bring Dina Dart and
Liz Lambert up again to kind of close out the evening. So thank you so much. DINA DART: That was incredible. Thank you so much, Jaune. We have a gift. The Native American Art Council,
the Portland Art Museum, yeah, thanks to Lilian. But we have a gift to thank
you for coming and for sharing your beautiful work with
us, and the vision that you have for Native American Arts. [APPLAUSE] And we’re gonna take this poor
lady to get some food now. It’s later [INAUDIBLE] but
thank you so much for coming, and drive carefully
on your way home. [APPLAUSE]

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