'Talking Pictures: Camera-Phone Conversations Between Artists' will be open through December 17th, 2017.
In January, Creative Capital announced this year’s grantees, a beautifully colorful and expansive list of artists sending powerful messages through the visual arts and film/moving image. A total of 54 artists will each receive up to $50,000 of unrestricted project funding as well as opportunities to build their network and creative community. So Creative Capital is not only helping to ignite the fire in each artist but assuring that it burns on fiercely even beyond each new work. “We’re committed to not only helping these brilliant artists realize their projects, but to also create the conditions that will enable their artistic practices to thrive,” President and Executive Director Christine Kuan echoed.
This year’s grantee group is made up of 80% artists of color — 20% of which are Native or Indigenous individuals. Northern Cheyenne painter and printmaker Jordan Ann Craig is among that category. Craig uses her work to fuel her imperative pursuit of bringing visibility to the place she comes from.
Jordan Ann Craig always infuses her upbringing into her work, speaking from her personal experiences. Her Creative Capital-supported project will be in collaboration with her mother, Brigit Johnson. Within this work, Books Not Returned to the Library, Craig and Johnson are speaking with authority on an epidemic that has flown largely under the radar for the general public: the rapid disappearance of Native women occurring every single day, at unimaginable rates. This work will include handmade books, each representative of one missing or murdered Native woman, girl, or two spirit — telling their stories on a larger scale, as they deserve to be told.
Below, office spoke to her about her Creative Capital-funded project and what it means to open doors for others, as it has been done for her.
Kayla Curtis-Evans — How do you continually infuse your Northern Cheyenne heritage into your work?
Being a Northern Cheyenne woman, I feel everything I make is inherently Indigenous and Northern Cheyenne. In my practice, I bring in specific design elements inspired by Cheyenne and Northern Cheyenne beadwork and quillwork. I study beaded and/or quilled moccasins, baby carriers, and pouches, adorned in beautiful Plains Indian motifs. I feel very lucky to have incredible art to study and bring into my own art.
How does your current setting of Northern New Mexico influence your artistic outlook?
Color is very important to my work and how I experience my surroundings. In New Mexico, color is highly concentrated and vivid. I often bring that saturation and contrast into my paintings. I am also surrounded by an amazing community of makers and artists in Northern New Mexico which keeps me motivated.
Tell me about your experience so far with Creative Capital and what it means to you to have this organization assist you in spreading this message.
Having Creative Capital support my collaborative project with my mother is huge. Our project is a big undertaking, and we are currently at the beginning phases of our timeline. Having Creative Capital’s support and resources will undoubtedly help us carry out a successful project.
Your installation, Books Not Returned Library, will explore the major epidemic of Native women rapidly disappearing. How does your work act as an amplifier for the many Native stories that go unheard?
Books Not Returned Library is a collection of handmade books in which each book tells the story of a missing or murdered Indigenous woman, girl, or two-spirit. This library is overwhelmingly full, a powerful indicator of a severe and heartbreaking problem in our society. Collectively and individually, the books share the horrific reality of the violence happening against Indigenous women and girls. These books are a physical place for stories to live on. Every person has a story, and many of these stories have been untold or erased. This library is Brigit Johnson’s vision and idea. As her daughter and collaborator, I’m helping her bring this library to life. We are doing this for the countless Native women whose stories have been swept under the rug, including my mom’s sister Amy Johnson, who went missing in 1986.
Tell me about the research that will go into this project, as each “book” in the library will tell the story of a missing or murdered Indigenous woman. How did you discover the stories you wanted to bring to the surface?
Books Not Returned Library is at the beginning stages of research. With the generous funding awarded by Creative Capital, my mother and I are embarking on a research-heavy project that will require community engagement as well as consulting from a range of experts. We will be working with librarians, MMIWG2S experts, bookbinders, craftsmen, and most critically, the many families impacted by MMIWG2S.
You create abstract paintings, prints, and artist books. In this project’s case, you depart from those mediums, the books providing an in-depth visual analysis of just how grave this phenomenon is. Walk me through the process of creating these books and the technical skills applied.
Book Arts is truly a beautiful craft and art. I have been enamored by handmade books ever since I learned binding techniques in college. Each book will be handmade with love and attention to detail. We will be using traditional bookbinding techniques, and add details like letterpressed text to the spines.
Why is it important to you to use your vision to advocate for stories that do not always receive visibility — what do you hope the collective reaction is to telling these stories on a larger platform?
We want viewers to experience the gravity of the MMIW2S epidemic through Books Not Returned Library. We want people to feel overwhelmed, angry, and saddened by the amount of books in the library which translates to missing or murdered life. We want change, we want dialogue, and we want justice. More people need to know of this overlooked huge issue in our society. We are humanizing the available data to ultimately encourage change while also providing a safe space for families affected by MMIW2S to heal and share their loved ones’ stories.
How can we continue to support artists in the ways Creative Capital does?
My mom used to say, “If you just open the door for her, she will thrive.” I have been so lucky in my career that some big doors have opened up for me, giving me the chance to grow, succeed, compete, and thrive. As artists, we get a lot of “no’s” and closed doors. Taking a chance and providing a platform where you can say yes to artists and open those doors can be life-changing.
when i speak to myself i use the kindest language i can summon, i am allowed the same grace i give others
and once i gave myself permission i was radiant
During the 60th edition of the Venice Biennale, London-based gallery Unit London presented In Praise of Black Errantry. The show comprises 19 modern and contemporary Afro-diasporic artists, including the likes of post-modern pioneers and New York City natives Jean-Michel Basquiat and Romare Bearden, alongside post-post-modern artists such as Rachel Jones, Hilda Kortei, and Jonathan Lyndon Chase. Based on French philosopher and writer Eduard Glissant's definition of errantry, "a mode of freedom and resistance, evoking a spiritual or purposeful wandering beyond national borders," the show celebrates the boundless Black imagination in contemporary art.
In Praise of Black Errantry will be displayed from 17 April–29 June 2024.
Curated by art historian Indie A. Choudhury, the exhibition offers an expansive interpretation of errantry: "Errantry opens up alternative ways of thinking and perceiving, affording creative disorder and the reordering of narratives, histories, and temporalities. All roots (routes) lead to the imaginary." Errantry, as shown by the artists in the exhibition, is the unbridled ability to dream and create without the constraints of nationhood, predefined borders, or colonial inheritance.
Jean-Michel Basquiat, Samo I and Samo II (1981)
Never is errantry more apparent than through the works of Basquiat and Romare Bearden, two New York artists at the center of In Praise of Black Errantry. Basquiat's work uses movement and broken imagery to create his errantry, rejecting the typical Western perception of what constitutes 'good art' and making his distinct visual language. His two works on display, Samo I and Samo II (1981), show fragmented images, a monstrous figure, and an explosion on a flat, dark background.
Romare Bearden, Seance (1984-86)
Bearden mirrors Basquiat in his use of fragmentation, using collages and bold colors to portray movement, music, and displacement themes. In Seance (1984-86), Bearden employs a blend of watercolor and gouache, resulting in rapid drying that gives rise to several figures distorted into monstrosity by their fluid interaction with colors; though not fully formed, their presence remains distinctly palpable. Bearden creates no divide between the figure and movement, blurring the lines between classical figuration and abstraction.
Rachel Jones, !!!!! (2024)
The influence of Basquiat and Beadern can be seen throughout the exhibit, as fragmentation, movement, and color are employed to explore post-postmodern errantry. In Rachel Jones's painting !!!!! (2024), bright, rich, abstract color islands float across the canvas, reminiscent of the ever-moving watercolor of Bearden. The artwork is unstretched, and the bottom is uneven, emphasizing its imperfection and materiality. As the title suggests, the painting is pure, intense emotion conveyed by the unbridled joy of her color and movement.
Hilda Kortei, Demur (2023)
Similarly, the painting Demur (2023) by Hilda Kortei uses a mixture of mediums, oil, acrylic, and charcoal, on fragmented collaged canvas to create a sculptural and layered painting. It defies the traditional conception of how a painting should be constructed and instead utilizes its flaws to create a multilayered cacophony of movement. While the hesitant title Demur is at odds with the excitement of Jones's !!!!!, both works employ similar techniques to build errantry. Neither work is static; each feels like it is ever evolving, a sentiment shared by all works in the exhibition.
In Praise of Black Errantry is a striking and unique exhibit. Within the larger context of the Biennale, whose theme this year was "Foreigners Are Everywhere," Unit London takes the opportunity to celebrate the non-conformity and limitless creativity of Afro-diasporic artists. By foregrounding the voices of marginalized communities and embracing the ethos of errantry, the exhibition transcends the limitations of cultural persistence and political containment. As curator Choudhury describes, the artists in the exhibition "take up errantry as a radical strategy that defies boundaries and advocates for spontaneity and experimentation beyond cultural fixity or political containment."
