Editor ’ s Greetings
America Meredith ( Cherokee Nation ), Benediction ( John Fire Lame Deer ), 2005 , acrylic and mica on cradled hardboard panel , 32 × 44 in ., collection of the National Museum of the American Indian .
THE ONLY TWO LIMITATIONS on this magazine ’ s content have been that the material must focus on art , and the art must be by Indigenous peoples of the Americas . Within this broad framework , First American Art Magazine has had a wild ride for the last four years through subjects esoteric and mundane . By not further dictating subject matter , our content has been a bubbling foment of topics reflecting current research trends .
By publishing new findings , FAAM has established itself as a journal , albeit not an academic journal . This does not mean we aren ’ t committed to accuracy ; our credo is never knowingly publishing anything that isn ’ t factual ( leading to many negotiations between authors , artists , and editors ). Accessibility of our writing is of paramount importance ; we want to reach a broad range of communities . My intent is that both a non-Native arts professional with no prior acquaintance with the Native world and a tribal member with no previous initiation into the art world will both find value in our writing — and hopefully find it engaging and illuminating .
With Native art criticism , history , and theory so underexplored , I believe in inductive approaches to research — that is , beginning with specific observations to work toward a theory , as opposed to deductive approaches , or beginning with a theory-based hypothesis that is then tested on empirical evidence . Too much of our tribal histories and philosophies still need to be rediscovered , but every day new knowledge is unearthed . The nascent field of Native art studies is tumultuous and exciting to join in on its exploration . Our pages are an experimental space for questioning and consideration , as opposed to an authoritative tome dictating answers .
In this issue , writers chose to explore efforts to revitalize Zapotec weaving and natural dyeing in Oaxaca , Mexico ; the movement to claim Aboriginal tattooing practices ; the Tom and Mary James / Raymond James Financial Art Collection and how Native art enters non-Native communities and communicates to the public ; and how an aerosol art collective , Neoglyphix , can mentor at-risk youth in Anchorage , Alaska . Norman Akers explores borders and border crossing through his use of personal and communal Osage iconography . Ron Senungetuk encourages Alaska Native artists to take pride in their heritage and experiment with the range of new materials and techniques available to them . Marie Watt builds community through her sewing circles and installations of crowd-sourced blankets . Margaret Roach Wheeler weaves fantastical visions of Chickasaw culture , informed by her research of precontact textiles but distinctly her own .
In the spirit of experimentation and on the suggestion of our editorial advisor and board member James Bialac , we added a new department : Spotlight , which examines a single work of art . Quick glances at art markets are insufficient to fully reflect on the content and aesthetics of a work . Observation is followed by critical contemplation , as furnished by our reviews of exhibits and art books .
By sharing voices from the lively , sometimes chaotic Native art world , I hope you find an honest reflection of what is happening today and our current state of research into our pasts .
— America Meredith
8 | WWW . FIRSTAMERICANARTMAGAZINE . COM