10 notes Demian Diné Yazhi’Untitled (Still Life), 2014

Demian Diné Yazhi’
Untitled (Still Life), 2014

15 notes heterogeneoushomosexual:
Demian Dine’Yazhi’Untitled (Still Life), 2011

heterogeneoushomosexual:

Demian Dine’Yazhi’
Untitled (Still Life), 2011

14 notes #wendyredstarswildwest
10 Indians in one room is pretty damn sexy. Come check our work out at Bumbershoot 2014 - Fisher Pavilion.

#wendyredstar #bumbershoot #seattle #nativeart #indigenousart #warriors #contemporaryart #demiandineyazhi (at INDIAN LAND)

#wendyredstarswildwest
10 Indians in one room is pretty damn sexy. Come check our work out at Bumbershoot 2014 - Fisher Pavilion.

#wendyredstar #bumbershoot #seattle #nativeart #indigenousart #warriors #contemporaryart #demiandineyazhi (at INDIAN LAND)

29 notes heterogeneoushomosexual:
The time has finally come for…WENDY RED STAR’S WILD WEST& CONGRESS OF ROUGH RIDERS OF THE WORLDBumbershoot 2014 - Fisher PavilionAugust 30th - September 1st, 2014
It’s live, it’s wild, it’s the real Wild West. Featuring eleven of the top Native American and First Nations artists and performers, plus 100 horses, buffalo and longhorn steers. Come delight in seeing the most cutting edge contemporary Native American art and artists
The intention of Wendy Red Star’s Wild West And Congress of Rough Riders of The World is to showcase contemporary Native American art and artist through their eyes and perspective. Since Seattle Center was originally built for the 1962 World’s Fair, it brought to mind the complicated history of World Fairs, expositions, and the famous Buffalo Bill’s Wild West in regard to indigenous peoples. In these venues, Native peoples were publicly exhibited, as a main attraction and entertainment for millions. They were usually presented in so-called “natural” or “primitive” state, in dioramas, or even in cages. They were enthusiastically paraded as lower on the scale of evolutionary progress, and represented the counterbalance to dominate Western European civilization.  On behalf of my great grandparents who participated in Buffalo Bill’s West, my grandparents who participated in or watched the St. Louis World’s Fair (1904) and the Chicago World’s Fair (1933), I want to produce my own Wild West show. Not in the literal sense, but in the sense that the participants (the Rough Riders of the World: Native American contemporary artists) will be allowed to take back ownership of Native American representations. Native American artists will have a chance to produce, present and disseminate their culture and own nativeness. The artists’ works included in this exhibition demonstrate a thriving and diverse spectrum of Native American identity in the 21st century. They are the rough riders who shatter many of the stereotypical notions placed upon Native Americans.Join curator and artist Wendy Red Star for this exciting exhibition at Bumbershoot 2014. Red Star is an artist living and working in Portland, Oregon. Red Star has an MFA from UCLA and has exhibited both nationally and internationally.*Poster designed by: Demian Diné Yazhi’_____________________________________________.

heterogeneoushomosexual:

The time has finally come for…

WENDY RED STAR’S WILD WEST
& CONGRESS OF ROUGH RIDERS OF THE WORLD
Bumbershoot 2014 - Fisher Pavilion
August 30th - September 1st, 2014

It’s live, it’s wild, it’s the real Wild West. Featuring eleven of the top Native American and First Nations artists and performers, plus 100 horses, buffalo and longhorn steers. Come delight in seeing the most cutting edge contemporary Native American art and artists

The intention of Wendy Red Star’s Wild West And Congress of Rough Riders of The World is to showcase contemporary Native American art and artist through their eyes and perspective. Since Seattle Center was originally built for the 1962 World’s Fair, it brought to mind the complicated history of World Fairs, expositions, and the famous Buffalo Bill’s Wild West in regard to indigenous peoples. In these venues, Native peoples were publicly exhibited, as a main attraction and entertainment for millions. They were usually presented in so-called “natural” or “primitive” state, in dioramas, or even in cages. They were enthusiastically paraded as lower on the scale of evolutionary progress, and represented the counterbalance to dominate Western European civilization.  On behalf of my great grandparents who participated in Buffalo Bill’s West, my grandparents who participated in or watched the St. Louis World’s Fair (1904) and the Chicago World’s Fair (1933), I want to produce my own Wild West show. Not in the literal sense, but in the sense that the participants (the Rough Riders of the World: Native American contemporary artists) will be allowed to take back ownership of Native American representations. Native American artists will have a chance to produce, present and disseminate their culture and own nativeness. The artists’ works included in this exhibition demonstrate a thriving and diverse spectrum of Native American identity in the 21st century. They are the rough riders who shatter many of the stereotypical notions placed upon Native Americans.

Join curator and artist Wendy Red Star for this exciting exhibition at Bumbershoot 2014. Red Star is an artist living and working in Portland, Oregon. Red Star has an MFA from UCLA and has exhibited both nationally and internationally.

*Poster designed by: Demian Diné Yazhi’
_____________________________________________.

11,219 notes

(Source: talented10th, via queeruption)

24 notes Felix Gonzalez-TorresUntitled (Death by Gun), 1990
Multiple copies of this poster by the Cuban-born Felix González-Torres are displayed in a paper stack, at the Museum of Modern Art in New York. Visitors may take copies of the poster from the stack free of charge. In its form and concept it blurs the lines between installation, sculpture and printmaking. The artist conceived of this piece (and his other similar printed paper stacks) as a kind of sculpture, endlessly depleted and endlessly replenished. (Those who buy his paper stacks are obliged to having the image reprinted so that the stack displayed in the gallery is always a specified optimum height).
The poster lists the names of individuals killed by guns in the United States in one week, in May 1989, with additional details, and in most cases, an image of the victim, all taken from Time magazine. Some have committed suicide, others are victims of violent crime. This simple exercise underlines the issue of gun ownership, particularly pressing in the United States, where private gun ownership is more common than in the United Kingdom and Europe. The drama of these violent deaths is contrasted with the simple, matter-of-fact manner in which they are reported, reducing the dead to a few statistics. This print has been produced as an ‘endless edition’ since 1990; as an unlimited edition artwork, it is constantly evolving as the audience participates in its distribution and its life-cycle.
__________________________________________.

Felix Gonzalez-Torres
Untitled (Death by Gun), 1990

Multiple copies of this poster by the Cuban-born Felix González-Torres are displayed in a paper stack, at the Museum of Modern Art in New York. Visitors may take copies of the poster from the stack free of charge. In its form and concept it blurs the lines between installation, sculpture and printmaking. The artist conceived of this piece (and his other similar printed paper stacks) as a kind of sculpture, endlessly depleted and endlessly replenished. (Those who buy his paper stacks are obliged to having the image reprinted so that the stack displayed in the gallery is always a specified optimum height).

The poster lists the names of individuals killed by guns in the United States in one week, in May 1989, with additional details, and in most cases, an image of the victim, all taken from Time magazine. Some have committed suicide, others are victims of violent crime. This simple exercise underlines the issue of gun ownership, particularly pressing in the United States, where private gun ownership is more common than in the United Kingdom and Europe. The drama of these violent deaths is contrasted with the simple, matter-of-fact manner in which they are reported, reducing the dead to a few statistics. This print has been produced as an ‘endless edition’ since 1990; as an unlimited edition artwork, it is constantly evolving as the audience participates in its distribution and its life-cycle.

__________________________________________.

23 notes ///////////////////////////////////.

///////////////////////////////////.

7 notes

An old sketch of Black Rage, done in my living room. Strange, the course of things. Peace for MO.

- MLH

Lyrics:

Black rage is founded on two-thirds a person
Rapings and beatings and suffering that worsens,
Black human packages tied up with strings,
Black rage can come from all these kinds of things.
Black rage is founded on blatant denial
Squeezed economics, subsistence survival,
Deafening silence and social control.
Black rage is founded on wounds in the soul! 

When the dogs bite, when the beatings,
When I’m feeling sad
I simply remember all these kinds of things and then I don’t fear so bad! 

Black rage is founded: who fed us self hatred
Lies and abuse while we waited and waited?
Spiritual treason, this grid and its cages
Black rage was founded on these kinds of things.
Black rage is founded on draining and draining,
Threatening your freedom to stop your complaining.
Poisoning your water while they say it’s raining,
Then call you mad for complaining, complaining
Old time bureaucracy drugging the youth,
Black rage is founded on blocking the truth!
Murder and crime, compromise and distortion,
Sacrifice, sacrifice, who makes this fortune?
Greed, falsely called progress,
Such human contortion,
Black rage is founded on these kinds of things 

So when the dog bites
And the ceilings
And I’m feeling mad,
I simply remember all these kinds of things and then I don’t fear so bad! 

Free enterprise, is it myth or illusion?D
Forcing you back into purposed confusion.
Black human trafficking or blood transfusion?
Black rage is founded on these kinds of things.
Victims of violence both psyche and body
Life out of context is living ungodly.
Politics, politics
Greed falsely called wealth
Black rage is founded on denying of self!
Black human packages tied and subsistence
Having to justify very existence
Try if you must but you can’t have my soul
Black rage is founded on ungodly control

So when the dog bites
And the beatings
And I’m feeling so sad
I simply remember all these kinds of things and then I don’t feel so bad!

Lyrics: http://mslaurynhill.com/post/95329923112/black-rage-sketch
____________________________________________.

7 notes +++++++++ - Thinking of roadtrips across the desert southwest on this continent so far from the edge of the milky way. A thunder being from the north sleeps in the canyons of digital codes. It reawakens in my heart when I slumber in the heat of an indian summer so close to home. Swirls of corn pollen and tobacco smoke swirl around electric pylons as I hear a synthetic drum come through the radio. -#columbiarivergorge #washington #sunset #roadtripwishin (at INDIAN LAND)

+++++++++
-
Thinking of roadtrips across the desert southwest on this continent so far from the edge of the milky way. A thunder being from the north sleeps in the canyons of digital codes. It reawakens in my heart when I slumber in the heat of an indian summer so close to home. Swirls of corn pollen and tobacco smoke swirl around electric pylons as I hear a synthetic drum come through the radio.
-
#columbiarivergorge #washington #sunset #roadtripwishin (at INDIAN LAND)

41 notes Demian DinéYazhi’Work in Progress ——///., 2014________________________________.

Demian DinéYazhi’
Work in Progress ——///., 2014
________________________________.

13 notes Demian Diné Yazhi’Untitled (map to locate home), 2014Earlier this week I was asked by Visual AIDS to make a map of a meaningful place, memory, or walk from my life or wild, wild imagination. The inspirational Ted Kerr had this to say about the project:”Visual AIDS is working with Ira Sachs to create a resource guide for his film LAST ADDRESS. A short elegy, the film visits the last NYC address of artists who died of AIDS. Inspired by the film, curator and writer Alex Fiahlo has been leading Last Address Tribute Walks, where a small crowd follows Alex to address from the film, making a small offering at each stop. 
To inspire others to unearth and recognize the history they live with, Visual AIDS is asking a few writers, artists and curators to share a map of a place, memory or walk that is important to them.”If you are in NYC, please be sure to stop by Visual AIDS and, as always, head over to their website and see what these hot babes are all about: VISUAL AIDS.______________________________________________.

Demian Diné Yazhi’
Untitled (map to locate home), 2014

Earlier this week I was asked by Visual AIDS to make a map of a meaningful place, memory, or walk from my life or wild, wild imagination. The inspirational Ted Kerr had this to say about the project:

Visual AIDS is working with Ira Sachs to create a resource guide for his film LAST ADDRESS. A short elegy, the film visits the last NYC address of artists who died of AIDS. Inspired by the film, curator and writer Alex Fiahlo has been leading Last Address Tribute Walks, where a small crowd follows Alex to address from the film, making a small offering at each stop. 

To inspire others to unearth and recognize the history they live with, Visual AIDS is asking a few writers, artists and curators to share a map of a place, memory or walk that is important to them.”

If you are in NYC, please be sure to stop by Visual AIDS and, as always, head over to their website and see what these hot babes are all about: VISUAL AIDS.

______________________________________________.

32 notes
17 notes Demian Diné Yazhi’Stephan & Kentaro, 2014#callmeintheday ::::::::::::: ::<3.<3:: ::::::::::::: #INDIANSUMMER #Playlist #BloodBrothersFollow: http://instagram.com/ndn.sumr________________________________________.

Demian Diné Yazhi’
Stephan & Kentaro, 2014

#callmeintheday

:::::::::::::
::<3.<3::
:::::::::::::

#INDIANSUMMER
#Playlist #BloodBrothers

Follow: http://instagram.com/ndn.sumr
_
_______________________________________.

9 notes

Cadallaca
Winter Storm ‘98, 1998

"Why can’t we walk, just walk around?

There are no cars, there is no sound
Inside I feel very still and I wonder if you will
Come out with me, I turn around
I see my footprints on the ground
Not like it was in ‘96, not like it was, not like it was”

___________________________.

24 notes R.C. GormanMale Nude III (Bodies by Gorman Suite), 1972___________________________________________.

R.C. Gorman
Male Nude III (Bodies by Gorman Suite), 1972
___________________________________________.