Christopher T. Green
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Retracing colonial choreographies in contemporary Native American art
in Art and migration
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As Indigenous art has been exhibited at international biennials in greater frequency over the last three decades, contemporary Indigenous artists frequently retrace colonial pathways and directions of movement along the axis between North America and Europe. This chapter asks how such retracing manoeuvres reconceptualise the organising geometries of modern Western liberalism in the global art world and its foundation in colonial and imperialist histories. Building on previous studies of the exhibition of Indigenous art on the global art stage, the text critically evaluates such axial movement. It draws on Gerald Vizenor’s concept of transmotion to describe how recent projects by Indigenous artists at the Venice Biennale conduct deimperialising gestures by establishing new sites of Indigenous sovereign motion at European centres of empire. Without relying on essentialist and archival tropes, the chapter shows that recent projects by Maria Hupfield, Nicholas Galanin, and Alan Michelson draw on transmotive geometries, movements, and non-linear epistemologies to assert Indigenous spatial politics.

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Art and migration

Revisioning the borders of community


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