Honored to have been asked to be part of Native Perspectives at the @metmuseum in #newyorkIn conjunction with Art of Native America: The Charles and Valerie Diker Collection, contemporary Native artists and historians have been invited to respond to eighteenth- and nineteenth-century Euro-American works in the American Wing's collection. Offering a multiplicity of voices and perspectives, the contributors present alternative narratives and broaden our understanding of American art and history.For my perspective, I was asked to create a caption for William Merritt Chase (American, 1849–1916). At the Seaside, ca. 1892. Oil on canvas, 20 x 34 in. (50.8 x 86.4 cm). The Metropolitan Museum of Art, New York, Bequest of Miss Adelaide Milton de Groot (1876–1967), 1967 (67.187.123). On view in gallery 769.My caption in the Met :This work depicts a leisurely beach scene painted one year after Chase opened a school of art near the Shinnecock Indian Reservation on Long Island's East End. This land is situated on the Shinnecock people's ancestral territory—of which more than 4,422 acres was stolen through an illegal transaction in 1859. The school and Chase's stay on Long Island was devised by Mrs. Janet S. Hoyt, a wealthy patron of the arts and an artist who lived in the Shinnecock Hills. Hoyt proposed a summer employment opportunity for Chase with the end goal of developing a real-estate venture and transforming the area into a summer-resort destination. Despite the increased eagerness to settle in the Shinnecock Hills, the Shinnecock Indian Nation has remained vigilant in asserting their rightful title to their ancestral land. —Jeremy Dennis (Shinnecock)
Incase you missed it: Photoville NYC Pics from two days ago. I am humbled to be part of Photoville with @ntvsphotograph, curated by @josue_foto and @dzalcman Featuring: Brian Adams (Inupiaq), Russel Daniels (Diné & Ho-Chunk), Jeremy Dennis (Shinnecock), Citlali Fabián (Yalalteca, Zapoteca), Kapulei Flores (Hawaiian), Kalen Goodluck (Three Affiliated Tribes & Navajo & Tsimshian), Tailyr Irvine (Confederated Salish & Kootenai), Pat Kane (Timiskaming First Nation), Yael Martínez (Nahua/Mēxihcah), Jenny Irene Miller (Inupiaq), Pamela J. Peters (Diné/Navajo), Ryan RedCorn (Osage), Josué Rivas (Mēxihcah & Otomi), Cara Romero (Chemehuevi), Camille Seaman (Shinnecock), Kali Spitzer (Kaska Dena & Jewish), Joe Whittle (Caddo & Delaware), Kiliii Yuyan (Nanai/Hezhen)Our space, How We See Ourselves, provides the following description; "Photographic depictions of Turtle Island (known to many as North America) have historically been controlled by non-native image-makers. From Edward Curtis to Jimmy Nelson, most of the past century’s documentation has routinely misrepresented, or exotically depicted the Indigenous people we see. How We See Ourselves is a group exhibition with some of the thirty members of Natives Photograph, showing a deeper and more nuanced depiction of Indigenous life. This is an inside look at the communities, families, homes, and landscapes of this continent, created by artists using their cameras to reclaim their narrative." -The show will be up at Brooklyn Bridge Plaza, from September 12-22, 2019 with workshops each day. PHOTOVILLE is New York City’s FREE premier photo destination.Produced by United Photo Industries, the annual free outdoor photo festival is a modular venue built from re-purposed shipping containers.By creating a physical platform for photographers of all stripes to come together and interact, Photoville provides a unique opportunity to engage with a diverse audience — a veritable cross-section of the world’s photographic community.
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