{"title":"“Dyani White Hawk: Speaking to Relatives”,肯珀当代艺术博物馆,堪萨斯城,密苏里州,2021年2月18日至5月16日","authors":"Glynnis Stevenson","doi":"10.14324/111.444.2396-9008.1340","DOIUrl":null,"url":null,"abstract":"This review looks at the Kemper Museum of Contemporary Art’s tribute to the past decade of artwork by Dyani White Hawk, a curator and multimedia artist of Sičáŋǧu Lakota, German and Welsh ancestry. The exhibition entrance sits directly across from Sean Scully’s The Moroccan (1984), positioning White Hawk’s work as a commentary on the Euro-American appropriation of non-white aesthetics. See for example, her canvas Untitled (coral, turquoise, and yellow) (2016), which embeds intricate rows of blue and yellow beads within bands of orange and red paint that evoke colour field painting. White Hawk receives pride of place in the museum’s main exhibition space, a series of four rooms showcasing the artist’s skill in many media: acrylic painting, beadwork, video, and photography. She layers and leverages Indigenous motifs amidst those associated with Euro-American artists. The exhibition tackles the debate over the false binary of art vs. craft and the centrality of indigenous women to Native American communities; the exhibition tackles the former deftly, the latter feels less fully explored.","PeriodicalId":72958,"journal":{"name":"Eurographics ... Workshop on 3D Object Retrieval : EG 3DOR. Eurographics Workshop on 3D Object Retrieval","volume":"41 1","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2022-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Dyani White Hawk: Speaking to Relatives, Kemper Museum of Contemporary Art, Kansas City, MO, 18 February–16 May 2021\",\"authors\":\"Glynnis Stevenson\",\"doi\":\"10.14324/111.444.2396-9008.1340\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"This review looks at the Kemper Museum of Contemporary Art’s tribute to the past decade of artwork by Dyani White Hawk, a curator and multimedia artist of Sičáŋǧu Lakota, German and Welsh ancestry. The exhibition entrance sits directly across from Sean Scully’s The Moroccan (1984), positioning White Hawk’s work as a commentary on the Euro-American appropriation of non-white aesthetics. See for example, her canvas Untitled (coral, turquoise, and yellow) (2016), which embeds intricate rows of blue and yellow beads within bands of orange and red paint that evoke colour field painting. White Hawk receives pride of place in the museum’s main exhibition space, a series of four rooms showcasing the artist’s skill in many media: acrylic painting, beadwork, video, and photography. She layers and leverages Indigenous motifs amidst those associated with Euro-American artists. The exhibition tackles the debate over the false binary of art vs. craft and the centrality of indigenous women to Native American communities; the exhibition tackles the former deftly, the latter feels less fully explored.\",\"PeriodicalId\":72958,\"journal\":{\"name\":\"Eurographics ... Workshop on 3D Object Retrieval : EG 3DOR. Eurographics Workshop on 3D Object Retrieval\",\"volume\":\"41 1\",\"pages\":\"\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2022-01-27\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Eurographics ... Workshop on 3D Object Retrieval : EG 3DOR. Eurographics Workshop on 3D Object Retrieval\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.14324/111.444.2396-9008.1340\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Eurographics ... Workshop on 3D Object Retrieval : EG 3DOR. Eurographics Workshop on 3D Object Retrieval","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.14324/111.444.2396-9008.1340","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
这篇评论着眼于肯珀当代艺术博物馆(Kemper Museum of Contemporary Art)对Dyani White Hawk过去十年作品的致敬,Dyani White Hawk是一位策展人和多媒体艺术家,拥有Sičáŋǧu拉科塔、德国和威尔士血统。展览入口正对面是Sean Scully的《摩洛哥人》(1984),将白鹰的作品定位为欧美对非白人美学的评论。例如,她的油画《无题(珊瑚色、绿松石色和黄色)》(2016),在橙色和红色的颜料带中嵌入了一排排复杂的蓝色和黄色珠子,让人联想到色彩场画。白鹰在博物馆的主要展览空间中占据了最重要的位置,四个房间展示了艺术家在多种媒体上的技巧:丙烯画、珠饰、视频和摄影。她在那些与欧美艺术家有关的作品中层层叠加并利用土著主题。这次展览探讨了关于艺术与工艺的错误二元对立以及土著妇女在美洲土著社区中的中心地位的争论;这次展览巧妙地处理了前者,而后者似乎没有得到充分的探索。
Dyani White Hawk: Speaking to Relatives, Kemper Museum of Contemporary Art, Kansas City, MO, 18 February–16 May 2021
This review looks at the Kemper Museum of Contemporary Art’s tribute to the past decade of artwork by Dyani White Hawk, a curator and multimedia artist of Sičáŋǧu Lakota, German and Welsh ancestry. The exhibition entrance sits directly across from Sean Scully’s The Moroccan (1984), positioning White Hawk’s work as a commentary on the Euro-American appropriation of non-white aesthetics. See for example, her canvas Untitled (coral, turquoise, and yellow) (2016), which embeds intricate rows of blue and yellow beads within bands of orange and red paint that evoke colour field painting. White Hawk receives pride of place in the museum’s main exhibition space, a series of four rooms showcasing the artist’s skill in many media: acrylic painting, beadwork, video, and photography. She layers and leverages Indigenous motifs amidst those associated with Euro-American artists. The exhibition tackles the debate over the false binary of art vs. craft and the centrality of indigenous women to Native American communities; the exhibition tackles the former deftly, the latter feels less fully explored.