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
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