Thank you @gwennie32 @nysmuseum for yesterday's digital field trip on Facebook featuring some of New York's indigenous artists and photographers from the NYSM collection. Can check out the video on their Facebook page if you are curious. Video Still: “Nothing Happened #2” Jeremy Dennis (Shinnecock), digital C-print. Nothing Happened Here is a photo series that explores the violence/non-violence of post-colonial Native American psychology.Reflecting upon my own experience and observations in my community, the Shinnecock Reservation in Southampton, New York, specifically the burden of the loss of culture through assimilation, omission of our history in school curriculum, and loss of land and economic disadvantage; this series illustrates the shared damaged enthusiasm of living on indigenous lands without rectification.The arrows in each image act as a symbol of everlasting indigenous presence in each scene. The images may be as compelling if the subjects were of indigenous descent, but the decision to use non-native subjects reveals a shared burden. The question remains of how to overcome this troubled past. As we learn of early contact-period history between colonists and indigenous groups, that history sticks with us, and it is difficult not to link current predicament of power, gained or lost, with that important past.

Thank you @gwennie32 @nysmuseum for yesterday's digital field trip on Facebook featuring some of New York's indigenous artists and photographers from the NYSM collection. Can check out the video on their Facebook page if you are curious. Video Still: “Nothing Happened #2” Jeremy Dennis (Shinnecock), digital C-print. Nothing Happened Here is a photo series that explores the violence/non-violence of post-colonial Native American psychology.Reflecting upon my own experience and observations in my community, the Shinnecock Reservation in Southampton, New York, specifically the burden of the loss of culture through assimilation, omission of our history in school curriculum, and loss of land and economic disadvantage; this series illustrates the shared damaged enthusiasm of living on indigenous lands without rectification.The arrows in each image act as a symbol of everlasting indigenous presence in each scene. The images may be as compelling if the subjects were of indigenous descent, but the decision to use non-native subjects reveals a shared burden. The question remains of how to overcome this troubled past. As we learn of early contact-period history between colonists and indigenous groups, that history sticks with us, and it is difficult not to link current predicament of power, gained or lost, with that important past.

http://instagram.com/jeremynative

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