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Art in the MidwestFemale ArtistsIndigenous Artists

Native and non-Native artists in dialogue at Chazen Museum of Art

By Chadd ScottPosted on October 27, 20210 Comments
Harry Fonseca, Nisenan Maidu, Hawaiian, and Portuguese, 1946-2006, Coyote Dancer, 1980. Acrylic on canvas, 72 x 48 in.
Harry Fonseca, Nisenan Maidu, Hawaiian, and Portuguese, 1946-2006, Coyote Dancer, 1980. Acrylic on canvas, 72 x 48 in.

The Chazen Museum of Art at the University of Wisconsin-Madison presents Companion Species, an insightful and timely exhibition that places works of art from Native and non-Native artists in conversation with each other. Its centerpiece is Marie Watt’s vibrant textile “Companion Species (Speech Bubble)” of 2019, in which community members stitched words such as “mother,” “we” and “ancestor” onto pieces of reclaimed red wool blankets. Through an innovative and frequently playful installation of works from 200 B.C.E. to the present day, the exhibition considers the importance of community, reciprocity and fellowship with animals and nature.

It will be on view through December 30, 2021.

“Companion Species asks us to reexamine our connectedness to our neighbors and to our environment through a diverse range of objects, traditions and approaches,” Chazen Museum Director Amy Gilman said. “As we continue to navigate unprecedented social, political and public health challenges, it is projects like this that allow us to find meaning and build resilience, together.”

The exhibition is organized into three thematic sections: Storytelling, Relationships and Community. The first section, Storytelling, relates how visual narratives can convey moral or personal lessons or cultivate collective memory. These artists understand that their audiences may more easily access stories when animals and nature represent abstract concepts.

The second section, Relationships, explores how Native and non-Native artists across time have depicted animals, used animal materials and reinforced the value of relationships between various species, in their artworks. Often in these works the boundaries between species are blurred, with humans looking to animals to model understanding and acceptance.

The artists represented in the third section, Community, expand its definition to include animals, plants and the land. By depicting and embracing collective activities, such as sewing circles, dancing or hunting, these practitioners reinforce that we are all connected, with new communities born when cross-cultural understanding is fostered.

Among the artists included in the exhibition are Norman Akers, Rick Bartow, Louise Bourgeois, Julie Buffalohead, Charles Burchfield, Beth Cavener, Tony Da, Lesley Dill, Jim Dine, Lela Naranjo Gutierrez and Luther Gutierrez, Laurel Roth Hope, Gina Litherland, Merina Lujan, Quincy Tahoma, Rufino Tamayo and Eah Ha Wa.

Companion Species and its national tour is organized by Crystal Bridges Museum of American Art, Bentonville, Arkansas, and Art Bridges Foundation, in collaboration with the Museum of Native American History.

Support for the national tour of Companion Species is provided by Art Bridges. 

Marie Watt, Seneca, b. 1967, Companion Species (Speech Bubble), 2019.  Reclaimed wool blanket, embroidery floss, and thread. 136 5/8 x 198 1/2 in.
Marie Watt, Seneca, b. 1967, Companion Species (Speech Bubble), 2019. Reclaimed wool blanket, embroidery floss, and thread. 136 5/8 x 198 1/2 in.

About the Chazen Museum of Art

The Chazen Museum of Art makes its home between two lakes on the beautiful campus of the University of Wisconsin–Madison. Within walking distance of the state capitol, it sits squarely in the heart of a vibrant college town. The Chazen’s expansive two-building site holds the second-largest collection of art in Wisconsin, and at 166,000 square feet, is the largest collecting museum in the Big 10. The collection of approximately 23,000 works of art covers diverse historical periods, cultures and geographic locations, from ancient Greece, Western Europe and the Soviet Empire to Moghul India, 18th-century Japan and modern Africa.

Female artistHarry Fonsecaindigenous artistMarie Watt

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Helen Frankenthaler’s ‘Eden Revisited’ (1967 Helen Frankenthaler’s ‘Eden Revisited’ (1967-1976) sure to brighten your day, it did mine on a recent visit to @sama_art @visitsanantonio. Stunning, vivid, massive (10-plus-feet tall), expressive… up close you can see the paint stains. 
I see so much drama in this painting, so much certainty, confidence. Of all the past artists I could have met, @helenfrankenthalerfoundation would be high on the list.
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3 showstoppers from @_wiggins_ at @briscoemuseum @ 3 showstoppers from @_wiggins_ at @briscoemuseum @visitsanantonio. Kim’s mark making and color are instantly recognizable and I DIG it! 
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As occurred across America during 1950s-80s, so-called urban renewal was a tactic used by white politicians to destroy thriving Black communities by running interstates through them to aide white suburbanites in getting to jobs in town faster.
Young experienced Overtown on both sides of #urbanrenewal and I can’t help thinking all these trucks are commentary on I-95.
#miamilife #tampa #tampaflorida #artmuseum #blackart #blackartist #blackartmatters #selftaughtartist
I was writing about @ronjonofficial for my “My F I was writing about @ronjonofficial for my “My Favorite Florida” column on Rovology.com travel site this morning. My first visit was 86ish, my most recent visit came last month. 
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More info about Highwaymen check link in bio.
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#savannahgeorgia #cocktails #tomcruise #movie
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#subwayart #newyorksubway #newyorkhistory #newyorkhistoricalsociety #newyorkcity #newyorklife #streetart #graffiti #graffitiart
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