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A stone object from the Piedras del Padre Nazario collection, filmed in the laboratory of Puerto Rican archaeologist Reniel Rodríguez, who has been studying their origins for years. The National Museum of Natural History has 4 of these stones in their collection, labeled as fakes. Image courtesy of the artists.
In an expansive conversation, Cree artist Kent Monkman joins Nathan Young, a member of the Delaware Tribe of Indians, to revisit some of the foundational narratives of the so-called United States of America, centering Indigenous figures, events, and narratives that have been erased and denied as part of the settler-colonial project.
Drawing on their own expansive artistic and scholarly work, including Monkman’s widely-exhibited paintings that intervene in Western European and American art history and Young’s Nkwiluntàmën, a site-specific, sound-based installation in the landscape surrounding Pennsbury Manor, a reconstruction of the home of Pennsylvania founder William Penn, their conversation reckons with the processes of colonial erasure, the trope of “discovery,” unmaking of history, and Indigenous visual and sonic agency in contending with a settler-colonial history and the complexities of historic and contemporary Indigenous experiences. VLC Borderlands Curatorial Fellow Larissa Nez (Diné) introduces and moderates the conversation to ask: How can artists and historians correct or produce a “correct” record of Indigenous histories? How can historical scholarship and artistic practice work in tandem to re-envision Native pasts and futures?
This program launches the VLC Forum 2024 and includes a festive reception.
Program
6:30 pm EDT—Reception
6:45 pm EDT—Welcome Remarks by Joel Towers, University President and Professor, and Carin Kuoni, VLC Senior Director/Chief Curator
7 pm EDT—Panel begins
This event is part of the Vera List Center Forum 2024: Correct History*, please click here for more information.
Presented by Vera List Center for Art and Politics at Schools of Public Engagement.
This program will feature American Sign Language (ASL) interpretation. Wheelchair or mobility device seating is available. Please let us know if you need any accommodation when registering or by emailing vlc@newschool.edu.
Wollman Hall is on the 5th floor at 65 West 11th Street and accessible by elevator. ADA accessible, all gender restrooms are located on the 3rd floor. The building has a ramp leading to a door adjacent to the main entrance, which requires signaling the guard or usher inside the glass wall.
The nearest accessible subway stations are the 14 St-Union Sq L, N, Q, R, W and the 14 St/6 Av F, M, uptown only; and the 6th Ave L is fully accessible.
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Kent Monkman is an interdisciplinary Cree visual artist. A member of Fisher River Cree Nation in Treaty 5 Territory (Manitoba), he lives and works in New York City and Toronto. Known for his thought-provoking interventions into Western European and American art history, Monkman explores themes of colonization, sexuality, loss, and resilience...
Larissa Nez (Diné) is a PhD student in the Department of Ethnic Studies, with a Designated Emphasis on Critical Theory, at the University of California, Berkeley. Centering critical Indigenous theory, decolonial theory, and the Black Radical Tradition, her research explores the relationship between Blackness and Indigeneity as political projects and social analytics...
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Nathan Young is a multidisciplinary artist, scholar, and curator working in an expanded practice that traverses artistic fields, including installation, sound, text, textiles, video, documentary, socially engaged art, and experimental music. Nathan is a founding member of the artist collective Postcommodity (2006–2015) and holds an MFA in Music / Sound from Bard College’s Milton-Avery School of the Arts. Young is currently pursuing a PhD in the University of Oklahoma’s innovative Native American Art History Doctoral program, where his scholarship is focused on Indigenous Sonic Agency. His work has been supported by Creative Capital, The Tulsa Artist Fellowship, The George Kaiser Family Foundation, The Pew Foundation, and the Carnegie Mellon Foundation, among others, including Tribeca Film Institute and the Sundance Institute.
Kent Monkman is an interdisciplinary Cree visual artist. A member of Fisher River Cree Nation in Treaty 5 Territory (Manitoba), he lives and works in New York City and Toronto. Known for his thought-provoking interventions into Western European and American art history, Monkman explores themes of colonization, sexuality, loss, and resilience—the complexities of historical and contemporary Indigenous experiences—across painting, film/video, performance, and installation. Monkman’s gender-fluid alter ego, Miss Chief Eagle Testickle, often appears in his work as a time-traveling, shape-shifting, supernatural being who reverses the colonial gaze to challenge received notions of history and Indigenous peoples. Monkman’s work has been exhibited at institutions such as the Hirshhorn Museum; Denver Art Museum; Crystal Bridges Museum of American Art; Musée des Beaux-Arts de Montréal; The Royal Ontario Museum; and Palais de Tokyo. Monkman’s monumental diptych, mistikôsiwak (Wooden Boat People), was the inaugural Great Hall Commission at the Metropolitan Museum of Art.
Larissa Nez (Diné) is a PhD student in the Department of Ethnic Studies, with a Designated Emphasis on Critical Theory, at the University of California, Berkeley. Centering critical Indigenous theory, decolonial theory, and the Black Radical Tradition, her research explores the relationship between Blackness and Indigeneity as political projects and social analytics. Focusing on the work of modern and contemporary Afro-Indigenous, Black, and Indigenous visual artists and filmmakers, Larissa seeks to articulate the ways resistance and survival, kinship and belonging, memory and futurity are intrinsic to the world-making that comes about due to, and in spite of, the world-breaking of colonial and imperial violence. Nez is a Borderlands Curatorial Fellow at the Vera List Center for Art and Politics and the Center for Imagination in the Borderlands.
