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Cincinnati Art Museum exhibit highlights contemporary Indigenous glass artists

Cincinnati Art Museum exhibit highlights contemporary Indigenous glass artists
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Glass artwork created by Indigenous artists is on display now through early April at the Cincinnati Art Museum.

Clearly Indigenous: Native Visions Reimagined in Glass comes to Cincinnati from The Museum of Indian Arts and Culture in Santa Fe, New Mexico. It features 120 pieces from 33 artists, showcasing new takes on traditional stories, along with current issues affecting tribal nations.

“It features 29 Native American artists from the United States and Canada, as well as four artists from the Pacific Rim — from New Zealand and from Australia,” explains curator Letitia Chambers, Ed.D. “Adding the Indigenous artists from other countries helped illuminate the story that American Indian artists and other Indigenous artists bring to this new medium of glass art.”

RELATED: Ohio’s Hopewell Ceremonial Earthworks are now UNESCO World Heritage Sites

Chambers uses “new” because the glass art movement on display in the exhibit hasn’t been around all that long. The Native Glass Movement began in the 1970s when, as part of a collaboration, a young glass artist named Dale Chihuly arrived in New Mexico to build a hot shop. Chihuly, of course, is one of the most popular and well-known glass artists in the world, with large-scale blown glass sculptures in museums and spaces across the globe. Chambers says Chihuly’s work in New Mexico inspired generations of Indigenous artists to explore glass as a medium for art.

Preview more work featured in the exhibit in the slideshow below.

“Our mainstream culture tends to think of Indians as a part of the past, partially because of the depiction of Native Americans in movies and other media,” says Chambers. “But in fact, they are very dynamic, exciting cultures, with strong artistic and aesthetic traditions. The glass art presented in Clearly Indigenous shows not only the cultural heritage of the artist, but the extremely effective use of that cultural heritage in creating contemporary fine art. The glass art created by American Indian artists is therefore both a personal expression of the artist, [and] a part of their cultural heritage.”

Dan Friday (Lummi), “Haila” Ho Wan Ut Old Peter (Skokomish/Chehalis), Preston Singletary (Tlingit), Tony Jojola (Isleta Pueblo), Carol Lujan (Diné), Priscilla Cowie (Māori) and Djambawa Marawili (Aboriginal Australian) are among the artists included in the exhibition, according to the museum.

The exhibit opens Friday, Dec. 14 and runs through April 7, 2024.

This uncanny photo series explores the feline gaze

This uncanny photo series explores the feline gaze

My Nonhuman Friends by artist Nika Sandler incorporates archival family photographs and cats’ POV images to create a tactile, surreal exploration of the mysterious feline world

15December 2023

Cats have long held a powerful and unique place in peoples’ homes and families. They’ve been revered in many cultures and religions and, from Egypt to China, there’s evidence to suggest the animals have lived as domestic pets for over 12,000 years. Artist Nika Sandler has always had a deep affinity with these enigmatic creatures. “Since birth, I have always been surrounded by cats,” she recalls. “The first being who became interested in me after I was discharged from the hospital was a cat, Boris. He stood on the bed and stared at me. He had never seen a human child before. Fortunately, he liked me.” Remaining under Boris’ “watchful eye” from that day on, the significance of this important childhood relationship would resonate throughout her life. “My friendship with cats had begun.”

Fascinated by and somewhat beholden to catkind, the Moscow-born visual artist was moved to begin exploring and documenting this compelling reciprocal relationship when, last year, her beloved feline friend Raymond died suddenly. At times surreal, nostalgic, and deeply tactile, My Nonhuman Friends incorporates archival photographs from the artist’s family albums, some of which are magnified many times in an attempt to “look at and recall the smallest details in a catlike, far-sighted way”. The close-ups of teeth, claws, fur and tongues evoke the physicality of cats; the sensation of their presence. 

Echoing the reciprocity of the relationship, this series also explores the feline gaze. Sandler uses screenshots taken from cameras on their collars to illustrate a cats-eye perspective of the world. Characteristic of Sandler’s work, these pictures are funny and odd, offering an uncanny alternative vision of the world around us that, to quote Metal magazine, succeeds in being both “introspective and extrospective”. 

Below, we talk to Nika Sandler about My Nonhuman Friends, the process behind her work, and depicting a day in the life of cats. 

Please could you begin by introducing us to this project and how it was conceived?

Nika Sandler: This project is an exploration of the relationship between humans and cats. The impetus for its creation came from grieving for my beloved cat Raymond, who passed away suddenly from a heart condition. This series began with still-life pictures of his belongings.

Why do you think you feel a particular affinity with cats?

Nika Sandler: I think it’s because they’ve been with me since I was born. From the first day I was discharged from the hospital, Baron the cat looked after me. He treated me as if I were his own cub. Our friendship lasted 12 years until he died.

Could you tell us about some of the important relationships you’ve had with cats over the years?

Nika Sandler: The first important relationship was with Baron [previously mentioned]. At the same time, I made friends in the village where my parents sent me on summer holidays. Among them were my great-grandmother’s cats Rosa and Murka, and the neighbour’s cats Senya, Mafia and Boris. I had a close relationship with Senya. We often played together, cuddled and sat quietly looking into the distance. We also fed each other: I fed him my grandmother’s cutlets, and he fed me rodents he caught in the field. Then, when I was thirteen, I was given a cat named Raymond. I felt like his big sister. He made me feel very fond of him. I kept him safe.

“I’ve always admired cats. I find every part of their body perfect” – Nika Sandler

There’s something very visceral about the images, they evoke the sensation of physical contact with cats. Could you tell us about this aspect of the series?

Nika Sandler: I’ve always admired cats. I find every part of their body perfect. So, while working on this series, I had the idea of incorporating the claws and hair into still-life pictures. I also turned to archival photographs. I enlarged some of them to recreate the smallest details of my feline friends. After manipulating the photos, the familiar features of the cats became blurred. This caused me to associate with the gradual distortion of images in human memory and the farsightedness of cats.

There’s an autobiographical element to this series. Could you tell us about the process of going through your archive of pictures and tracing your history with cats?

Nika Sandler: I’ve come a long and fascinating way from studying family albums of photos of me and my cats on film and digital soapboxes to sorting through folders on my personal computer and external hard drive with joint selfies on the phone and photos on DSLR and mirrorless cameras. I grew older and technology changed, but our relationship with the cats, judging by looking through the archives, remained consistently warm. 

 Cats are usually quite independent creatures with a quality of mystery. Using screenshots from cameras on their collars, your series also follows the lives of cats when they’re off on their own private business. Could you tell us more about why you chose to include these insights into their exploits and the insights you gained?

Nika Sandler: I wanted to show a day in the life of cats through their eyes. I aimed to capture their agency. I realised that cats are incredibly inquisitive explorers, keen observers and agile hunters. I knew this before, but thanks to the cameras on their collars, it became obvious to me. I also felt that I would like to be a cat.

What stories and themes do you think emerge from My Nonhuman Friends?

Nika Sandler: I suppose these are themes of friendship, memory, experiencing loss and the nonhuman gaze.

What would you say are the recurring obsessions that inform your work?

Nika Sandler: I think I am constantly haunted by thoughts of mortality and the urge to look on the other side of humanity.

And what inspires you most at the moment culturally? Anything from past or present in art, literature or cinema etcetera.

Nika Sandler: Lately I’ve been enjoying re-reading the work of Georges Bataille, Ben Woodard and Joanna Zylinska. I am also following the [permanent beta] The Lure of the Image project, which is being done by the curators of Fotomuseum Winterthur.

Visit the gallery above for a closer look through selected images from My Nonhuman Friends.

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Photographer Spreads Joy, Capturing Memories To Last A Lifetime – Town-Crier Newspaper

Photographer Spreads Joy, Capturing Memories To Last A Lifetime – Town-Crier Newspaper
The Miller family, Adrian, Tracy Ann, Asher and Alayah, pose for a family portrait as Tanya Paugh captures the moment.

By Shannon Anastasio

On Saturday, Dec. 2, photographer Tanya Paugh of Chasing Smiles Photography took on the role of Santa’s helper, sharing her talent with the community. In the spirit of giving, Paugh recently embarked on a heartwarming mission to spread joy and capture precious moments for families.

Paugh’s journey began seven years ago when her first grandchild arrived, inspiring her to channel her passion for photography into creating lasting memories for others. Although she currently takes photos for fun, she is hoping to make it her career someday.

Operating under the philosophy of “Chasing Smiles,” Paugh wanted to extend a helping hand to her neighbors, especially during a year that brought unprecedented challenges to many. Being a part of several Facebook groups, she found a platform to connect with her community and offer a unique gift that goes beyond material possessions.

Despite facing financial constraints of her own, Paugh decided to give the gift of photography by providing free photo sessions for families. What started as an intention to assist up to five families quickly grew to include an astounding 19 families. Her generous spirit and love for capturing genuine moments led Paugh to share her talent with a broader audience.

Announcing her initiative on social media, Paugh received an overwhelming response when 20 families eagerly signed up for the opportunity to have their special moments frozen in time by Chasing Smiles Photography. Despite the initial plan of limiting the sessions, she couldn’t turn anyone away, demonstrating her commitment to making a difference in as many lives as possible.

Paugh encouraged families to dress in festive reds and greens, embracing the holiday spirit. She welcomed them to bring their own props and decorations, fostering a personalized and meaningful photo session. With a promise of delivering edited copies through Facebook Messenger, Paugh aimed to provide not just a service but cherished memories that families could hold dear.

“Photography is not just a hobby; it’s a dream career,” Paugh said, adding that she was passionate about capturing the essence of each family’s unique style, whether it’s in parks, beaches or the comfort of their homes.

Paugh emphasized the importance of permission, ensuring that families were comfortable with their photos being shared and requesting them to tag her if they chose to do so.

Acknowledging the collaborative effort that made this initiative possible, Paugh expressed her gratitude to Shani Ramkumar for offering her yard as a picturesque setting. She also thanked Sasha Johnson and her 12-year-old son Jasper, who played an integral role in assisting throughout the day, with Jasper even taking on the role of the Grinch. Their dedication and support, despite the sweltering heat, contributed to the success of the project.

Paugh meticulously planned the day, providing times and names for each family and urging them to be punctual. The result was a seamlessly organized photo shoot, with no issues or delays. Even with the largest family of eight members, Paugh and her team worked efficiently, ensuring that every family left with heartwarming memories captured through her lens.

The overwhelming response and the touching stories shared by the families underscored the impact of this initiative. In a year marked by uncertainties, she succeeded in bringing smiles to faces and spreading the joy of the holiday season — a reminder that even in difficult times, a simple gesture can make a significant difference in someone’s life.

As Paugh navigates her own challenges, her dedication to brightening the lives of others shines through. In the midst of personal struggles, she found solace and fulfillment in the stories she heard and the moments she captured. This holiday season, Tanya Paugh and Chasing Smiles Photography truly embody the spirit of giving, proving that a camera, coupled with a generous heart, has the power to create lasting memories and bring communities together.

For more information about Chasing Smiles Photography, e-mail tpaugh4@gmail.com or call (561) 679-6561 to set up a fun shoot for your family in the future.

The Art Market, Bushwick-style : Bushwick Daily

The Art Market, Bushwick-style : Bushwick Daily

“I find that talking to people is often what convinces them to buy it,” said Layla Nami, one of the numerous artists selling her wares at a recent Parkmart meet. 

Walking from Myrtle Ave to Melrose, it’s hard not to be drawn into the monthly market that has been running that street since 2021. The energy of the warehouse-turned-art meet is quintessentially Bushwick, where it feels like art explodes out of every crack in the pavement.

Nami’s work, which she sells in the form of prints and clothes, is inspired by her own father’s tales of Iranian folklore, demons she spied at the Met Cloisters and her own looming feeling of being watched. She’s been selling since 2021 and often pops by as many markets as possible.

One of the more recent ones is “Parkmart,” a self-described artist market-after party that’s regularly populated by over 60 vendors and animated by five hours of DJ sets and meets at 40 Melrose Street. Taking a lap around the market, there’s collaged photography, dainty lace chokers, zines and crocheted balaclavas. 

Unlike most art markets, which mingle artists with resellers, Parkmart is pointedly aimed at people who make their own things. No vintage.

“The thing with flea markets in New York is that most of it is a mix of vintage and art,” organizer Nico Bonacquist said recently in an interview with VICE’s i-D vertical. “But we [knew] if we only did artists it would set us apart from everything else,” he added.

Amani Starks, who draws comics, says she fell in love with the drawing as a way to channel her own artistic feelings. 

“Art on its own is often up for interpretation but comics allow for little to be misunderstood,” she said, showing me her latest, and first, edition of a zine she’s made titled “Stygian.” The zine features a collection of oil and digitally-drawn comics that followed along characters she’s created, like Pluto the Great, a green haired, devil eared assailant who is on a quest for blood. 

The zine explores Starks’ feelings about the grip of depression and the power of female rage. The comics are both a great outlet for her and the feel practical. Coming here from from Philadelphia, she needs her art to be moveable as she goes from market to market. 

This sort of “moveable art,” ranging from clothing to zines to jewelry was a common motif at every booth, seemed to be the mark of a traveling artist. 

Follow Parkmart on Instagram to find dates of future art meets.


Images taken by Molly Healy for Bushwick Daily.

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X100 Series Marks International Debut with Stunning Pro Photography and Superior Performance

X100 Series Marks International Debut with Stunning Pro Photography and Superior Performance

vivo X100 and X100 Pro feature an upgraded vivo ZEISS Co-engineered Imaging System for pro-level photography on a smartphone and deliver superior performance with Dimensity 9300, a customized imaging chip and enhanced battery capacity.

SHENZHEN, China, Dec. 14, 2023 /PRNewswire/ — vivo today announced the international debut of X100 and X100 Pro, the company’s flagship smartphone lineup built to deliver professional photography capabilities and powerful performance. The new X100 series brings significant upgrades to the vivo ZEISS Co-engineered Imaging System inside and out. vivo X100 Pro introduces the versatile ZEISS APO Floating Telephoto Camera, a ZEISS 1-inch Main Camera, and supports 4K Cinematic Portrait Video for stunning, cinema-like video quality. vivo worked closely with MediaTek to define the flagship SoC experience for X100 series. Both models come with the powerful Dimensity 9300 and a customized imaging chip[i], paired with enhanced battery capacity for smooth performance.

Continuing the X series legacy with even more powerful camera features 

The new vivo X100 series introduces game-changing innovations in collaboration with ZEISS, equipping users with the hardware and software to capture highly precise photography in all scenarios, specifically targeting challenges in long-range and close-focus shooting.

X100 Pro features a 50MP ZEISS 1-inch Main Camera, a 50MP ZEISS APO Floating Telephoto Camera and a 50MP Super Wide-Angle Camera. The powerful ZEISS APO Floating Telephoto Camera comes with new Vario-Apo-Sonnar standards from ZEISS for excellent close-up and long-distance shots. It also adopts a Floating Elements Design, which sets a new benchmark with an unprecedented f/2.5 aperture to ensure high image quality in various scenarios, even from 6X to 10X. The X100 Pro is the first mobile imaging system in the world to achieve APO certification. The lens significantly reduces chromatic aberration and associated image clarity issues.

Adding to image quality, Optical Precision Calibration ensures the main camera on X100 Pro delivers consistent image sharpness and quality. The experience is rounded out with SLR-level image stabilization on the main camera.

The X100 comes with a 50MP VCS True Color Main Camera, a 64MP ZEISS Telephoto Camera, and a 50MP Super Wide-Angle Camera. Both X100 and X100 Pro have certified compliance with ZEISS T* Coating, an advanced anti-reflective coating technology that significantly increases light transmittance and helps accurately reproduce colors while reducing light reflection, enabling users to capture clear images even in complex light conditions.

The X100 series has also been optimized for industry-leading capabilities in sunset and sunrise photography, supported by the telephoto hardware and upgraded vivo Origin Imaging Engine. Bringing upgrades to image quality, color tone, and computing processes, vivo Origin Imaging Engine aids in sunset or sunrise photography by identifying specific red-sun scenarios and capturing the scene accurately.

Improved portrait and night photography supported by dual flagship chip processing  

The groundbreaking mobile photography features go beyond hardware specs to enable users to capture, create, and edit professional grade images and videos on the go. Upgrades have been made to portrait and night shooting capabilities, alongside new additions to the signature ZEISS bokeh effects.

X100 Pro is supported by the customized vivo V3 Chip, which adopts 6nm process with 30% increase in energy efficiency ratio, leading to advanced upgrades in portrait videography. X100 Pro brings the all-new 4K Cinematic Portrait Video, an X series first, ideal for users who want to capture and edit creative video content effortlessly on their smartphone. With this powerful feature the focus shifts automatically and tracks the subject during filming, creating a more cinematic feel. Users can also take advantage of the new 4K Cinematic Portrait Video feature to apply ZEISS Cinematic Video Bokeh style. Post-editing of 4K Cinematic Portrait videos is also available in the Album, allowing users to easily fine-tune the bokeh effects and styles.

X100 and X100 Pro carry on the X series’ pursuit of making professional-level photography possible on a smartphone, this time bringing a whole new take on portraits. For the first time in the X series, vivo introduces ZEISS Multifocal Professional Photography, allowing users to take professional portraits with focal lengths up to 100mm, perfect for travel photography, artistic photography or simply capturing joyful moments at home. Adding more creative options, X100 series introduces ZEISS B-Speed Style Bokeh, the newest addition to ZEISS Style Portrait package. ZEISS B-Speed Style Bokeh creates a distinctive circular triangular bokeh effect inspired by ZEISS classic high-speed cine lens from the mid-1970s.

Superior experience with powerful performance upgrades and larger battery

X100 and X100 Pro come with a Dual Flagship Chip featuring a vivo customized imaging chip and Dimensity 9300. X100 is engineered with the vivo V2 Chip and X100 Pro with the latest vivo V3 Chip. Dimensity 9300 boasts a flagship octa-core CPU offering a massive leap in performance compared to its predecessor.

X100 and X100 Pro, backed by vivo’s customized imaging chips, offer Game Frame Interpolation for smooth gaming experience. X100 Pro goes a step further with Game Super Resolution offering superior visual experience.

The X100 series successfully balances large capacity battery with fast charging through three key industry breakthroughs: Negative Electrode Graphite Reconstruction technology, Electrode Cold Press Technique, and Micrometer Laser Array Etching Process — ultimately reaching an 8.3% increase in overall energy density compared to previous generations. X100 is equipped with an equivalent 5,000mAh (TYP) large battery and supports up to 120W Dual-Cell FlashCharge; X100 Pro comes with an equivalent 5,400mAh (TYP) large battery and supports wireless FlashCharge[ii] and up to 100W Dual-Cell FlashCharge.

The X100 series comes with LTPO Eye Protection Display and introduces Dual Engines for Video Enhancement, elevating the viewing experience. Furthermore, a vivo-exclusive V Frame Rate Management System helps dynamically adjust the refresh rate based on the finger sliding speed and renders frame rates per layer, ensuring smooth experience while reducing power consumption. Featuring a larger always-on display area, the display can reach a local peak brightness of up to 3,000 nits, which ensures the content on the screen remains visible even under bright sunlight.

The X100 series comes equipped with the latest Funtouch OS 14, which enhances the user experience further by providing smoother performance, greater personalization, and improved security. The new operating system introduces several features such as the RAM Saver, which optimizes background processes, Mini Window for effortless multitasking and Motion Blur for smoother visual transitions.

Premium design for quiet luxury and durability

The X100 lineup continues the iconic sleek, stylish and lightweight design aesthetics of X series. A ring around the camera module resembling a halo is the key design element reflecting Sun Halo and Moon Halo Design. Made of aerospace-grade stainless steel, the halo adds a touch of minimalist luxury, with sunburst texture resembling high-end mechanical watches. At the same time, the material used ensures durability — it is wear-resistant, high-temperature resistant, and corrosion-resistant. For additional peace of mind, all models in the series are IP68 rated for water and dust resistance. The X100 Series comes in a dreamy Startrail Blue and an Asteroid Black theme[iii].

About vivo

vivo is a technology company that creates great products based on a design-driven value, with smart devices and intelligent services as its core. The company aims to build a bridge between humans and the digital world. Through unique creativity, vivo provides users with an increasingly convenient mobile and digital life.

While bringing together and developing the best local talents to deliver excellence, vivo is supported by a network of R&D centers including Shenzhen, Dongguan, Nanjing, Beijing, Hangzhou, Shanghai and Xi’an, focusing on the development of state-of-the-art consumer technologies, including 5G, artificial intelligence, industrial design, photography and other up-and-coming technologies. vivo has also set up an intelligent manufacturing network (including those authorized by vivo), with an annual production capacity of nearly 200 million smartphones. As of now, vivo has branched out its sales network across more than 60 countries and regions, and is winning more than 500 million users worldwide with its superior products and services.

Following the company’s core values, which include Benfen*, user-orientation, design-driven value, continuous learning and team spirit. vivo has implemented a sustainable development strategy, with the vision of developing into a healthier, more sustainable world-class corporation.

*”Benfen” is a term describing the attitude on doing the right things and doing things right – which is the ideal description of vivo’s mission to create value for society.

Stay informed of latest vivo news at https://www.vivo.com/en/about-vivo/news   

[i]  X100 comes with vivo V2 chip, while X100 Pro comes with vivo V3 chip.

[ii] Paired with vivo’s second-generation official 50W vertical wireless charger, X100 Pro supports up to 50W wireless FlashCharge. The official wireless charger needs to be purchased separately. For the availability, please contact the local sales for detailed information.

[iii] Color availability may vary across markets.

SOURCE vivo

Ho-Chunk Centre galleries showcase Native American artists

Ho-Chunk Centre galleries showcase Native American artists

SIOUX CITY — When SunRose IronShell was growing up in Denver, she accompanied her mother to college classes at Iliff School of Theology. While her mother learned, the 10-year-old sat quietly in a corner coloring for hours. 

Today, IronShell’s dining room serves as her studio. It’s where the contemporary artist and designer creates ledger art — narrative drawing or painting on antique paper from discarded record-keeping books. 

IronShell, who is Sicangu and Oglala Lakota of the Titowan Band of the Oceti Sakowin, said there are “a lot of layers” to her artwork, which she makes with colored pencils, acrylic paint, watercolor markers and gold leafing pen. Each of her pieces tells a story. 

“I’m fighting against a mentality where people think we don’t exist,” IronShell said of Native Americans.



New Artist Showcase

Artist SunRose IronShell talks about her art during an interview at Gallery 103 located in the Ho-Chunk Centre in downtown Sioux City. Behind her are her pieces “Elk Rawhide Parflech Inspired Corset” and “Golden Hour.” IronShell is one of five Native American artists being featured at Gallery 103 and the adjacent 3 Rivers Art Gallery as a part of the galleries’ new artist showcase on Friday.




IronShell, who moved to Sioux City during the pandemic, is one of five Native American artists whose work is being celebrated in a “New Artist Showcase” Friday at Gallery 103 and 3 Rivers Art Gallery in the Ho-Chunk Centre. The works of IronShell, Henry Payer, Ed Encinas, Ernest Ricehill and Savannah Anderson, join those of Tani Russell, another local Native American artist whose photography and encaustic artwork has been displayed at Gallery 103 for a couple of years. Both galleries are seeking to increase the diversity of artists being spotlighted. 

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“It’s inspired by the fact that there are five new artists in our shared galleries; and it’s exciting, because the five new artists are all Native American artists,” Terri Parish McGaffin, a Gallery 103 artist, said of the showcase. “This is a way for us to acknowledge Native American Heritage Month, but also feature their artwork, which is unique.”

IronShell said she draws inspiration from the works of the late Oscar Howe, who was a renowned Yanktonai Dakota painter and longtime University of South Dakota professor. 

“A lot of his pieces were very breaking the mold in being contemporary with that cubist-type of movement. With my pieces, I’m using the lines of the paper, the grid of the ledger paper to create those different blocks or squares,” IronShell explained. 

In “Born of a Star” IronShell tells the origin story of her people with geometric shapes and dentalium shells, which were associated with wealth and used as a popular dress embellishment, as well as a source of trade on the prairie.

“Our DNA has those star particles. We come from the stars. We’re a star nation. We come from a cave. So, after the moon smashed into the earth, we were microorganisms and, then, eventually, we come out,” she said. “But as human beings we came out of a cave; and they say that’s in Minneapolis.”



New Artist Showcase

Artist SunRose IronShell talks about her art during an interview at Gallery 103 located in the Ho-Chunk Centre in downtown Sioux City. Behind her are works by artist Ed Encinas. IronShell and Encinas, are two of five Native American artists being featured at Gallery 103 and the adjacent 3 Rivers Art Gallery as a part of the galleries’ new artist showcase on Friday.




IronShell said she was thinking about the issue of abortion while creating “The Portal is Opening, Thamni.” The Lakota word for womb is “thamni.”

“At first, it didn’t start out as a womb. I had initially done these circles. These circles are really prominent in the design,” IronShell said as she stood by the framed ledger artwork, which hung on a wall just inside the main entrance of Gallery 103. “The womb, they call this a portal to another world.” 

Art as an escape 

Plains Indian men traditionally painted winter counts, pictorial calendars or histories, on bison hides. IronShell likened the images they painted to a mnemonic device that “triggers your memory to tell a story.”

However, in the late 1800s, the Plains Indians were forced to use ledger books as their canvases, instead of the hides, amid a mass slaughter of bison herds by white settlers. By the close of the 19th century, bison had been hunted almost to extinction.

“When these (ledger) papers were being made in the 1800s, there was a lot of illegalization of our people. We couldn’t sing. We couldn’t dance. We couldn’t do our ceremonies. We couldn’t even wear our clothes,” IronShell said. “A big part of why we switched from the hides to the paper was also because of the extermination of the buffalo. The United States government sent out the ammunition and everything. One dead buffalo, they said, was like one dead Indian. If you kill a buffalo, you kill an Indian. So, now, we don’t have any hides. We have to use canvas and the ledger paper.”

Most of the ledger paper IronShell uses in her artwork comes from old businesses. Finding it can be difficult and the books are often costly, but IronShell has had success locating it at antique shops and, sometimes, on eBay. 

“The quality of the papers are just so much thicker. They actually have those cotton fibers and linen fibers. The color of the colored pencils are supposed to come out more vibrant,” she said. 



New Artist Showcase

Artist SunRose IronShell talks about her art during an interview at Gallery 103 located in the Ho-Chunk Centre in downtown Sioux City. Behind her is her piece, “The Portal is Opening, Thamni.” IronShell is one of five Native American artists being featured at Gallery 103 and the adjacent 3 Rivers Art Gallery as a part of the galleries’ new artist showcase on Friday. 




IronShell has her eye on stacks of ledger books containing Sioux City Police Department logins. She said she could make “really awesome designs” by utilizing the stamps on the pages. The books also lead her to think about how law enforcement treated Native Americans back in in the 1800s. The Sioux City Police Department was founded in 1857.

“It’s really interesting to think, what was the timeframe? What were Indians doing? And, then, now, how do I thrive?” said IronShell, who said she wants to “reclaim” that era. “I touched all those police ledger books, because that was like counting coup.”

Ledger art is “prisoner of war art,” according to IronShell. She said reservations are considered “prisoner of war camps.” Since IronShell is still linked with the reservation, she said she is “still a prisoner of war,” citing the ongoing erasure of Native Americans — monetary sanctions, persistent stereotypes and underrepresentation in society. 

“I do art as my escape from all those issues. At the end of the day, I can’t solve all those issues. We can just talk about it. But you have something pretty on your wall that makes you feel good,” she said. 

Meet the other new artists 

Savannah Berlyn Anderson (Ricehill), a Winnebago Tribal member, grew up on Omaha Indian Reservation. Her passion for photography was kindled at age 11, when her father gifted her her very first camera. 

“I am dedicated to capturing meaningful photographs that possess the power to transform lives,” she said. “Whether I’m documenting the untold stories of my tribe, preserving the ephemeral beauty of nature, or striving to make a difference through my lens, I am driven by the belief that photography has the ability to shape perceptions, influence hearts, and spark meaningful conversations.”

Ed Encinas, of the Omaha Nation, is a ledger artist, muralist, craftsman and traditional Hethuska dancer. He teaches high school art and beginning band at UmoNhoN Nation Public School.

Encinas takes the ledger art form in new directions with paintings on old checks, sheet music and other pages from history. These documents, which are often of local origin, lead to conversations about our common history.



New Artist Showcase

“Self Portrait (As a Smiling Indian With Feather),” by artist Henry Payer is shown at Gallery 103 located in the Ho-Chunk Centre in downtown Sioux City. Payer is one of five Native American artists being featured at Gallery 103 and the adjacent 3 Rivers Art Gallery as a part of the galleries’ new artist showcase on Friday.




Henry Payer is a Ho-Chunk artist who works primarily with collage and mixed media. 

Payer’s bold and contemporary narrative compositions utilize Indigenous cartographic methods with traditional aspects of spatial representation and symbolism, while appropriating European modernist models of cubism, spatial distortion and collage. Each work offers a visual narrative of symbols and appropriated voices from American consumer society that reconfigures history, references the altered landscape or the identity of a portrait.

Ernest Ricehill is a curator, exhibit designer and photographer. He curated exhibitions at the Sioux City Art Center, showcasing his meticulous attention to detail and innovative exhibit design. In the 80s, Ricehill was considered the only Native American art curator.

Ricehill ventured into photography, capturing the essence of the urban Native American experience in his project, “Moccasins On Pavement – The Urban Indian Experience: A Denver Portrait Photographic Exhibit” at the Denver Natural History Museum.



New Artist Showcase

Photography by artist Ernest Ricehill is shown at 3 Rivers Art Gallery located in the Ho-Chunk Centre in downtown Sioux City. Ricehill is one of five Native American artists being featured at 3 Rivers Art Gallery and the adjacent Gallery 103 as a part of the galleries’ new artist showcase on Friday. 




What: New Artist Showcase — meet the artists and celebrate Native American Heritage Month

When: 5 p.m. Friday

Where: Gallery 103 and 3 Rivers Art Gallery in the Ho-Chunk Centre, 600 Fourth St. 

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Celebrity Photographer Juergen Teller Gets Personal in His Latest Exhibition, the Largest to Date

Celebrity Photographer Juergen Teller Gets Personal in His Latest Exhibition, the Largest to Date
Juergen-Teller-Artwork
Juergen Teller, Mother With Crocodile, Bubenreuth, 2002. All images courtesy of the artist.

When Juergen Teller took on his latest venture, his first thought was, “How do I handle this?” he remembers over the phone. “I knew I didn’t want to do that Art Basel cubicle thing.”

The venture in question is “I need to live,” the largest exhibition of the iconic photographer’s 30-plus-year career, which opens at the Grand Palais Éphémère on Paris’s Champ de Mars tomorrow. Rather than cordon off the works on view by era or theme, Teller is opting for something far more intimate.

Juergen-Teller-photography
Artwork by Juergen Teller.

Designed with a single entry-point, the show unfolds “like a film or book” of Teller’s life. “It starts with four rather heavy photographs,” he explains. First, a portrait of Teller as a baby, taken by his father. “It looks just like my 6-month-old daughter, and also like a photograph I would have taken,” he says.

Next, a snapshot of an article announcing his father’s suicide. Then comes one of Teller’s mother with her head in a crocodile’s jaws, followed by a black-and-white shot of the photographer himself standing naked on his father’s grave. “You see this absurdity, the frightening aspect of life, the grotesqueness,” he muses of the show’s forceful preface.

Juergen-Teller-photography
Artwork by Juergen Teller.

But there’s joy and tenderness, too. The exhibition’s title, for example, is born of a will to transcend these darker moments. “My father chose to go this way, but I want to live—for my wife, for my children, and for myself. I need to live.”

Toward the end of the exhibition, a series of iconic celebrity shots—Kim Kardashian, Iggy Pop—are reenacted with the help of 6-month-old Iggy, Teller’s daughter with his wife and collaborator Dovile Drizyte. “It was an adventure for all three of us,” concludes Teller. “We had fun.”

I need to live” will be on view from December 16, 2023 through January 9, 2024 at the Grand Palais Éphémère in Paris.

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