Seneca Archives

Memory Map Smartphone Tour: Rain (C.S. 1854)

Lily Hansen on Apr 9 2024

In Rain (C.S. 1854) (1990), long-handled silver spoons are adhered to a wood canvas. Below the spoons, oozing layers of paint, oil, wax, and ink punctuate the work’s surface like drops of rain.

Contemporary Native artist Jaune Quick-to-See Smith was inspired to create Rain (C.S. 1854) in 1990 while traveling through the northeast United States with Seneca artist G. Peter Jemison. She recalls, “When I went up to Buffalo and Syracuse [New York], the Iroquois up there were saying the maple trees were dying because of acid rain.” The incorporation of silver spoons in the work, says Smith, represents “the mouths” of the steel mill companies most responsible for the acid rain. Taken as a whole, the installation calls out the unequal distribution of both environmental harm and financial benefit as well as the sense of capitalist entitlement that allows factories to burn fossil fuels so recklessly.

Rain (C.S. 1854) is one of many environmentally-focused works Smith has created throughout her five-decade career. Tune in to the free smartphone tour of Jaune Quick-to-See Smith: Memory Map at SAM to hear G. Peter Jemison discuss the significance of this work, its connection to Chief Seattle, and Smith’s passion for environmentalism. The exhibition closes in just over a month on Sunday, May 12—reserve your tickets to see it at SAM before it’s gone!

Rain (C.S. 1854), 1990

NARRATOR: Smith called this work Rain (C.S. 1854). G. Peter Jemison is a member of the Seneca Nation heron clan.
G. PETER JEMISON: As you move around the painting, you would be struck by this light being reflected from the spoons. And I like that idea, because it’s difficult to capture, really, what rain looks like If you try to paint it.
NARRATOR: The “C.S.” of the painting’s subtitle stands for Chief Seattle, who was a Suquamish and Duwamish chief during the middle of the 19th century.
G. PETER JEMISON: Chief Seattle, of course, is famous for making an early statement about the necessity to live in harmony with the natural world, and not to be in the process of destroying it. Perhaps Jaune’s commentary here is related to what is it, that is, now not only in the soil, but what is coming from the atmosphere. Because of the kind of air pollution that we now live with.
NARRATOR: Smith made this painting after traveling around the northeastern United States with Jemison, and encountering the effects of acid rain on forests in upstate New York.

– Lily Hansen, SAM Marketing Content Creator

Photo: Chloe Collyer.

Emerging from the Matrix: Kari Karsten on Curating for SAM

Seattle Art Museum on Jul 21 2022

Indigenous Matrix: Northwest Women Printmakers, now on view through December 11 in SAM’s third floor galleries, was a year-long journey, the culmination of my thesis project for the University of Washington Museology masters program. Overseen by Barbara Brotherton, Curator of Native American Art at SAM, and Kathryn Bunn-Marcuse, Curator of Northwest Native Art at the Burke Museum, the curation process involved many hours of reflecting on and researching how Indigenous women artists are represented within museums. Western museological practices have on the whole lacked recognition of the importance of women within Indigenous communities, but women have always been a driving force of their creative practices and creations.

I came to this topic because I am Seneca, an Indigenous Nation located in Western New York. Growing up, I was immersed in the creative expressions of my people and was taught the importance of artistic freedoms and legacies. It was not until I graduated high school that I started putting together the pieces of how our artworks carry our stories and culture, aiding in the revitalization and celebration of who we are. Coming into the museological field, my goal is to highlight and promote Indigenous culture through the arts. With great thanks, that is what I was able to accomplish working with SAM over the past year to curate this exhibition.

For the exhibition, I selected works by Pitseolak Ashoona, Francis Dick, Myra Kukiiyuat, Jesse Oonark, Susan Point, and Angotigolu Teevee. Our women have continued to drive many aspects of life for Indigenous communities across the world, yet only in recent years have we seen museums and galleries approach working with a feminized view of Native arts. The purpose of this exhibition is to create a learning environment conducive to promoting woman-centered Indigenous narratives and to educate the public on histories and cultures that they may have yet to encounter. Bringing contemporary Indigenous art into an institutional setting helps reframe harmful historical narratives and highlights Native women’s current lived experiences through research that is informed by traditional knowledge and community revitalization efforts.

With this exhibition, I hope to impact the future of Indigenous peoples who work and exhibit within museums and more specifically, art institutions. This work breaks down some of the barriers that many Native peoples face when working with art institutions. As the first exhibition at the Seattle Art Museum to be curated by an Indigenous female-identifying student, Indigenous Matrix is a small—but significant—step in creating more institutional accessibility for emerging museum professionals and Indigenous curators.

– Kari Karsten, SAM Emerging Museum Professional Curatorial Intern

Photos: Alborz Kamalizad.