To celebrate the opening of the exhibition Dyani White Hawk: Love Language, join us for a Native-led opening-day panel with the artist and invited speakers. Moderated by Candice Hopkins (Carcross/Tagish First Nation), the panelists include artist and curator Keith BraveHeart (Oglala Lakota), exhibition catalogue contributors Joyce Tsai and heather ahtone (Chcotaw/Chickasaw Nation), and artist Dyani White Hawk (Sičáŋǧu Lakota).
Grounded in a celebration of Lakota art forms, visual motifs, and value systems, White Hawk’s work challenges prevailing narratives and histories of abstraction and amplifies the influence of Indigenous cultural production on modern and contemporary art. The conversation will use the artist’s wide-ranging practice as a point of departure for rich discussion celebrating Indigenous art and strengthening critical thinking on both institutional and national histories and our current climate.
This event requires a free ticket. Registration is available online or at the Main Lobby desk beginning at 12 noon. Seating is available on a first-come, first-served basis.
For virtual access, a livestream of this program will be available on several platforms. To access the livestream on Zoom, use this link. The livestream will also be available on YouTube via this link. Or visit the Walker’s Facebook page to watch virtually. Please note a recording of the panel will also be shared on the Walker’s YouTube page at a later date.
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Accessibility
This program will have ASL interpretation.
For more information about accessibility at the Walker, visit our Access page.
For questions about accessibility, or to request additional accommodations, call 612-375-7564, or email access@walkerart.org.
Bios
heather ahtone, PhD, is Director of Curatorial Affairs at First Americans Museum (FAM) in Oklahoma City, Oklahoma. She is a citizen of the Chickasaw Nation and descendant of strong Choctaw women. She has worked in the Native arts community since 1993, and is recognized as a curator, arts writer, and researcher who has produced numerous exhibitions and related catalogues. While primarily a curator, she is known for innovatively working with Indigenous communities. customary cultural knowledge, and contemporary art. She serves on numerous advisory boards and in professional capacities that advocate on behalf of Indigenous knowledge, museum practice, and scholarship in the field, including current service on the American Art Journal editorial board, the Association of Art Museum Curators, and as past-President for the Native American Art Studies Association. She has undergraduate degrees in Creative Writing and Printmaking and completed her education with a doctoral degree in Interdisciplinary Studies (Art History, Anthropology, Native American Studies).
Keith BraveHeart is an Oglala Lakota independent curator, visual artist, and arts educator from the Pejuta Haka community (Medicine Root, Pine Ridge Indian Reservation, SD). BraveHeart received his BFA from the Institute of American Indian Arts (Santa Fe, NM) and MFA from the University of South Dakota (Vermillion, SD). His work within art and community is diverse and includes exhibition curation, arts & culture programing, and community-engaged arts initiatives. BraveHeart is committed to enriching and encouraging tribal arts continuums across the Northern Plains region, and expresses a sincere acknowledgment of being a “supportive relative.”
Candice Hopkins is a citizen of Carcross/Tagish First Nation and lives in Red Hook, New York. Her writing and curatorial practice explore the intersection of history, contemporary art, and Indigeneity. She is Executive Director of Forge Project, Taghkanic, New York, and Senior Curator for the 2019 and 2022 editions of the Toronto Biennial of Art. She was part of the curatorial team for the Canadian Pavilion at the 2019 Venice Biennale, featuring the work of the media art collective Isuma; and co-curator of exhibitions including the national traveling survey Art for New Understanding: Native Voices, 1950s to Now; SITElines.2018: Casa Tomada, SITE Santa Fe; documenta 14, Athens and Kassel; and Sakahàn: International Indigenous Art, National Gallery of Canada, Ottawa. Notable essays include “The Gilded Gaze: Wealth and Economies on the Colonial Frontier” in The documenta 14 Reader (2017); “Outlawed Social Life” in South as a State of Mind (2016); and “The Appropriation Debates (or The Gallows of History)” in Saturation: Race, Art, and the Circulation of Value (New Museum/MIT Press, 2020).
Joyce Tsai, PhD, joined the Clyfford Still Museum in 2021 as the second director in the institution’s history. She came from the University of Iowa, where she was both the Chief Curator of the Stanley Museum of Art and Associate Professor of Practice at the School of Art and Art History. Prior to her position at Iowa, she was an assistant professor of art history at the University of Florida, Gainesville. In addition to exhibitions she has curated, Tsai is also the author of László Moholy-Nagy: Painting after Photography (UC Press, 2018), winner of the Phillips Collection Book Prize. Her research has been supported with fellowships from the Fulbright Foundation, Dedalus Foundation, Center for Advanced Study in the Visual Arts, and the Phillips Collection.
Dyani White Hawk (Siċaŋġu Lakota, b. 1976) is a multidisciplinary artist based in Minneapolis. Her practice, strongly rooted in painting and beadwork, extends into sculpture, installation, video, and performance, reflecting upon cross-cultural experiences through the amalgamation of influences from Lakota and Euro-American abstraction. Her work was presented in the 2022 Whitney Biennial, and recent solo exhibitions include Various Small Fires, Los Angeles; Museum of Contemporary Art Denver; and Kemper Museum of Contemporary Art, Kansas City. White Hawk has received awards from the Guggenheim Foundation, MacArthur Foundation, Creative Capital, Anonymous Was a Woman, Academy of Arts and Letters, United States Artists, Joan Mitchell Foundation, Jerome Foundation, McKnight Foundation, and Native Arts and Cultures Foundation.
Before Your Visit
Paid underground parking is available on-site. Enter the ramp on Vineland Place at Bryant Avenue. Biking or taking Metro Transit? Learn more.
Visiting the galleries? Enhance your experience by joining a public tour or with self-guided resources accessible for free on Bloomberg Connects.
Personal photography is permitted throughout the Walker and the Minneapolis Sculpture Garden, but please turn off the flash when visiting the galleries.
To help us promote future events and programs, this event may be photographed or recorded. By attending, you consent to appear in this documentation and its future use by the museum. Please let staff know upon arrival if you prefer not to be photographed.
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