鈥淚 was thinking about young Native artists and what would be inspirational and important for them as a road map,鈥 says Aps谩alooke contemporary multimedia artist听Wendy Red Star (b. 1981). These were key considerations when she was curating Native America: In Translation at Blanton Museum of Art. In this exhibition, Red Star assembles nine Indigenous artist who offer contemporary perspectives on memory, identity and the history of photography.听This “road map” spans intergenerational image makers who represent various Native nations and affiliations. Creatives work across disciplines, spanning photography, installation, video and more. Together, their work听confronts the historic, and often fraught relationship between photography and the representation of Native Americans, whilst reimagining what it means to be a citizen in North America today.听We interviewed Red Star to learn about how the project came about; the influence of her grandmother Amy Bright Wings Red Star and granduncle Clive Dust Sr; the significance of self-portraiture in her own practice and the importance of inspiring the next generation of creatives.
A: What sparked the idea for this group show? And why did you choose this title?
WRS: Aperture reached out to me to guest-edit their Native America issue, which became a pivotal experience in shaping the concept for this exhibition. For Native America: In Translation, I wanted to build on that, offering the public a unique opportunity to view this powerful group of artists as a collective. These artists are already well-known and respected, and bringing their works together under the theme of 鈥淚n Translation鈥 allows for a deeper exploration of how Native identity, culture and experience are communicated across different photographic mediums. The title emphasizes the transformative process of translating our lived experiences into art, whilst also challenging how our stories are often interpreted by others.
A: How did you select the artists that are part of this exhibition? What themes do they address in their work?
WRS: The artists were selected because they were part of the Aperture magazine issue. Each artist brings a distinct voice that addresses the fluidity of Native identity. They explore themes like gender, self-representation, land and ancestry, investigating how these elements are translated into contemporary visual culture. This intentional gathering highlights their individual contributions whilst fostering crucial dialogues for both Native and non-Native audiences.
A: You鈥檝e said that you鈥檝e thought about this show as a 鈥渞oad map鈥 for 鈥測oung Native artists.鈥 How would you like Native America: In Translation to inspire future generations?
WRS: I want young Native artists to feel empowered to tell their own stories, to use their creativity as a tool of expression and resistance. This show is a reminder that their voices are valid and needed in the world. I hope it inspires them to look at their own communities, their ancestors, and see how they can contribute to the ongoing legacy of Native storytelling, but through their own lens and with their own innovations.
A: Following on from the previous question, who were some artists that you looked up to when you were younger?
WRS: When I was younger, I drew immense inspiration from my grandmother, Amy Bright Wings Red Star, who was always creative. She spent her days making regalia, sewing and beading, instilling in me a deep appreciation for the artistry in our cultural practices. Her hands transformed materials into beautiful expressions of our identity. I also looked up to my granduncle, Clive Dust Sr., known for his innovative creativity. His ability to think outside the box showed me that creativity knows no bounds. Both of them shaped my understanding of what it means to be creative in our community.
A: On display are the self-portraits of Martine Gutierrez 鈥 could you tell us more about her work in this exhibition?
WRS: Martine Gutierrez’s self-portraits are incredibly powerful in the way they navigate identity. She uses her image and photography to challenge ideas of gender, race and belonging. What I love about her work is the way she transforms herself, taking on multiple personas to reveal how fluid and constructed identity can be.
A: Your practice also centers on the self-portrait, which we see in series like, Aps谩alooke Feminist, (2016) and Four Seasons (2006). As an artist, what interests you about this style of photography?
WRS: For me, the self-portrait is a powerful form of reclaiming agency. With the Aps谩alooke Feminist series, I wanted to challenge historical depictions of Aps谩alooke women in historical portraiture, subverting the narrative and instead offering a perspective of our strength, complexity and resilience. Photography lets me engage with history whilst also speaking to contemporary identity 鈥 it鈥檚 about reclaiming space and voice.
A: Koyoltzintli鈥檚 Spider Woman Embrace (2019) is another striking piece on view. A pair of hands emerge from behind a boulder in this black-and-white shot. Could you tell us more about this piece?
WRS: Spider Woman Embrace speaks to the deep relationship between land and body, the idea that the two are intertwined and inseparable. The hands emerging from the earth evoke the presence of something ancient, something deeply connected to the land. I think Koyoltzintli鈥檚 work taps into Indigenous creation stories and the sacredness of land, whilst also invoking a sense of mystery. It鈥檚 a reminder that the earth holds our histories, our traumas and our strength.
A: Could you share with us some of the other projects you’re working on at the moment?
WRS: Right now, I鈥檓 focusing on several projects, one of which is a deep dive into the history of Chief Plenty Coups, the last chief of the Crow Nation, who passed away in the 1930s. I’m exploring archival photographs and materials for a solo exhibition scheduled for 2026 at the National Portrait Gallery in Washington D.C. This project aims to honor his legacy and shed light on the significant impact he had on our community and history.
Blanton Museum of Art, Native America: In Translation | Until 5 January
Words: and Diana Bestwish Tetteh
Image Credits:
- Rebecca Belmore, “matriarch,” 2018, from the series “nindinawemaganidog (all of my relations),” Photograph by Henri Robideau archival pigment print, 56 x 42 in., Courtesy of the artist.
- Koyoltzintli, “Spider Woman Embrace,” Abiquiu, New Mexico, 2019, from the series MEDA, 2017鈥19, framed archival pigment print, 24 x 30 in., Courtesy of the artist.
- Martine Gutierrez,听Queer Rage,听Imagine Life-Size, and I鈥檓听Tyra,听辫66鈥67听from the series听Indigenous Woman, 2018,听42 x 28 in.,听framed digital C print,听Courtesy of the artist and RYAN LEE Gallery, New York.
