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RELEVANT: Rethinking American Indian Art In New York City, a hub of diversity and original art, discovery is a twofold, all-encompassing challenge – the challenge to be acknowledged, noticed; the challenge to notice or identify talent first, to invest before brilliance is noted by the masses and values skyrocket. No equal opportunity disclaimer exists in obtaining exposure as an artist, and ultimate success is the potential acceptance on the part of mainstream society. When faced with attending an attractively titled exhibition set in a gentrified location suggesting a theme, issue, community, or any number of components that the artists exhibited may have in common, the spectator has a vague inclination as to the content based on what they know or think they know, which evokes expectations. In the case of a group exhibition showcasing American Indian visual artists living in New York, expectations are alleviated by the unexpected. Their artistic selfexpressions are as diverse as art through the ages, as strongly independent in characteristic as the individuals to whom they speak, as personal as the unique reality in the mind's eye of the beholder. What defining element ties New York-based American Indian visual artists together with their varying experiences, and approaches, to self-expression? Much like any member of mainstream society, individual Native American Indians cannot be compartmentalized based on simple means. With one of the most complicated histories since the dawning of mankind, the cause and effects produce a rich enough history to write innumerable volumes of scholarly texts, which then raises the current question – what makes art American Indian art? Images applied to canvas, stories molded into clay or conjured from driftwood, and the arrangement of earthly elements reveal personal journeys. To better understand present, directional journeys of such a diverse community of American Indian artists, the significance of history must be established. Regardless of how North American history may be interpreted, forced terms and conditions impacted indigenous peoples in such a way that the threat of extinction became a reality. The lives of today's artists, and therefore their art, are predetermined and forever altered by the decisions made by past generations in reference to survival. As a result, artists are or were potentially raised on or extracted from a reservation; raised in a town predominantly inhabited by other Natives or a contrasting culture; brought up in a large city diverse with cultures; or constantly moved and resided all around the world. Geographic location and circumstantial environment affects the path, and therefore work, of the artist because of the varying experiences with either opportunities of the large city, life in an isolated society, or the experience of survival in third world country conditions. Whether the artist accepts or disregards their childhood and its influence, socialization plays a large part in compelling them as to which part of humanity they ultimately decide to express. It is no wonder that their visually expressed journeys challenge any tendency towards generalization and passionately reject assumptions. Consequently, collective opinion of mainstream society relies heavily on open minds, fearless critics, bold crusaders, and exposure made available to New York American Indian artists as a community. Socialization and environmental influences result in three differing themes of self-expression: Reflection, found in culturally significant symbolism, images, and fundamental truths discernibly used as subject matter; Reformation, Native identity as it intersects mainstream society influences; and Revival, through cultural abstraction. Reflection The use of Reflection by New York Native artists emphasizes traditional images and beliefs. The expressions and components of these works form a metaphorical window for the observer to learn the historical truths paramount to Native people today, truths characteristic of their personal lineage. The emotions contained and displayed are showcased for the advancement of the observer, as opposed to internalization, which would only serve to stagnate the myths often perceived by society. In doing so, the artists use reflection as a means to allow and encourage the reassessment so pertinent in conceiving a more current, informed opinion about North American Indians. Reformation Reformation within the art world has taken place as Native identities have intersected with mainstream society. This cross-culturalization manifests through the observable influence of technology, graffiti, and art forms with distinctive origins elsewhere. The works speak vividly and introspectively from the unique American Indian perspectives regarding society, world issues, local non-Indian culture, and self-observation. Inspiration materializes into work, a worldwide collaboration within a singular expressive piece, revealing the world in a completely new light while building a bridge between tolerance and ignorance. In this sense, reformation is not the death or complete renovation of Native expression, but rather an evolutionary opportunity to enlighten mainstream society – what it truly means to be Native American Indian in mainstream society today. Revival Within the New York American Indian community of artists, Revival asserts identity, expression, or ancestral concepts by either recreating a mental image in external form or applying scientific or mathematical approach. From the theoretical standpoint, cultural distinction should be made and considered concerning the subject matter, the vision, the dream, the lesson, or the message implied when comparisons are made. Even through incorporating obscuration by choice of technique, closer observation of the work reveals the resurrection of ideological perspectives in a context exclusive to their Indigenous cultures. These stylistic approaches indicative to understanding New York American Indian visual arts, in this context, devise the opportunity to rethink Native culture today. It creates a forum where "American Indian", used as a descriptive binding the creator to the artwork, takes on a whole new meaning. "American Indian" art does not always resemble the prevalent, popularized styles of the southwest; thus, the New York American Indian artists and their work become impossible to generalize based on ethnicity. What defining element ties New York-based American Indian visual artists together with their varying experiences, and approaches, to self-expression? American Indian artists share a traceable, documented lineage with ancestral indigenous peoples of North America. The ramifications due to American history manifest innumerable ways because of the life-altering decisions made by those before us. This actuality perpetuates different outcomes and therefore, different American Indian artists venturing independently to New York resulting in varying experiences to artistically express. What makes art 'American Indian art'? American Indian artists create the art in question. Essentially, New York American Indian artists are redefining American Indian art in a remarkable way. The works showcased in a group exhibition representing the American Indian community enlightens the observer by externalizing the innermost thoughts and emotions that are present now. It creates common ground or an open dialogue between artist and observer as well as the opportunity to explore and resolve the stereotypes that keep the American Indian community of artists separated from mainstream society. New York American Indian Art, Collectively History in the Making If not for group exhibitions, the New York Native visual arts community would remain unknown and unnoticed; and human nature tends to dictate the collective tendency to be tolerant or intolerant of the unknown by isolating what we choose to fear and embracing what we choose to acknowledge. When looking at world art through the ages, lateral timelines appear as well as causes and effects through political turmoil, enlightenment, major world events, and a rich enough history of humanity inspiring the world's greatest intellectuals and scholars. Based on historical referencing, a pattern of development reveals universally accepted fine art whether past or present, and certainly, whether loved or hated in the minds of spectators and critics. In this context, American Indian art tends to be intermittently accepted as fine art when the art looks "American Indian" by general standards or when identity is considered irrelevant. A group exhibition of New York American Indian artists asserts relevance as a community meriting the right to participate more actively in the Western world's developing art history. Predispositions aside, the collective quest for original art demands further exploration of New York American Indian art. The American Indian artistic community perspective is relevant within mainstream society as influential fine art originating in the Western world and as a pertinent component in the history of the United States. When expectations cease to compartmentalize and typecast American Indian art – the spectator can acknowledge diverse perspective and embrace the discovery of original selfexpression; the empowered critic may write freely and recognize history in the making. Only then can the ancestral influence embodied in New York American Indian artwork fully revolutionize the perseverance of the sovereign Nations from which they came. Only then can New York American Indian artists strengthen our community against the isolation of the past and present while advancing the dialogue and securing an unbreakable, collaborative bond between North American Indigenous people and mainstream society.
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