Artist and Community Videos
Hear artists and community members engage in conversations around Indigenous histories and identities.
Our Voices labels
Our Voices invites Indigenous community members to offer their own perspectives on works of art in the museum’s Indigenous Arts of North America galleries.
Nimiipuu (Nez Perce)
Idaho
Headdress
1860s–90s
Feathers, beads, bells, ermine, hide, and horn
The L. D. and Ruth Bax Collection at the Denver Art Museum, 1985.251
Few things seem to identify the Indigenous people of North America more than a headdress. This item is something that has transcended its Plains origins, making its way into the visual representation of Indigenous people throughout the world. It has been adopted by some tribal communities that don’t traditionally use it because of its familiarity to identify Indigenous men in particular, which has placed it in popular culture, co-opted by the fashion industry, hippies, and serial appropriators leaving it as a symbol of Indigeneity that has been disrespected and misunderstood, solidifying the lack of Western understanding to Indigenous existence.
Watch Gregg Deal’s performance, The Last American Indian on Earth.
Dwight Wallace (Gid K’wáajuss)
Kaigani Haida, 1822–1913
Sukkwan (Saxq’wa.áan), Alaska
House Frontal Pole (gyáa'aang)
1870
Wood
Gift of the University of Pennsylvania Museum, 1946.251
We come from a long line of people who roamed the Pacific Northwest and Pacific Ocean long before there were museums. The poles are our oral history and keep us connected. Our time spent together as a family was truly very precious, especially being in the midst of the Land Otter Pole. Hearing my father, Lee, share the story pole’s meaning and message was a great takeaway for my family members, but also, I believe for the Denver Art Museum staff.
Fritz Scholder
Luiseño, 1937–2005
Santa Fe, New Mexico and Scottsdale, Arizona
Massacre In America: Wounded Knee
1972
Oil paint on canvas
Gift from Vicki and Kent Logan to the Collection of the Denver Art Museum, 2016.174
I feel anger. Elders watching generations of family being ended right before their own eyes. No mercy. Yet they call us “savages.” Nothing is more savage than killing innocent people seeking refuge.
I feel sadness. In this painting I see myself. I see my sons. My nephews. My little brother. My daughter. My nieces. My mother. My grandparents. My aunties. My uncles. I see friends.
I feel a peace of mind and peace of heart. We live on. We are a true nation of warriors.
Read Terrance Jade’s full response to Scholder’s painting (PDF).
Pomo artist
Basket
Early 1900s
Plant fiber
Native Arts acquisition funds, 1938.926
This Pomo basket was woven with quail pattern designs. There are twenty-four Pomo tribes in Northern California. The Central Pomo word for quail is sak:a:ka. Pomo peoples integrate quail patterns and feathers into their basketry and ceremony. The top knots are woven into borders or scattered within designs. Quail are also an important food. Quail soups and stews are prepared or quail eggs are boiled by using hot stones and water in a cooking basket.
Enjoy a quail and mushroom recipe from the California Indian Museum & Cultural Center (PDF).
Shoshone artist
Moccasins
Early 1900s
Beads, buttons, brass, and hide
Gift of Mrs. Harry English, 1951.135A-B
These are old-style Shoshone moccasins, they are sewed in the old way, with brass [or] copper buttons. Today’s traditional moccasins are of elk hide, with wrap-around ties. The pattern in this item may be of morning glories, they grow wild in our fields and mountains. The old-style design [and] patterns may exist of wild raspberries, chokecherries, gooseberries, currants, and buffaloberries.
I am a Northern traditional Dancer, I wear traditional-style moccasins, with the Shoshone rose design. When I dance it makes me feel good in my heart, I pray when I’m dancing. It is important to carry on the old traditional way of dance and regalia. Someday our youth will be carrying on our traditions.
In Eastern Shoshone Dialect (hear Ula Taylor read the label):
Savish tso wa nasagenrede tes tampra youtesie tes piganame fuuhwipe nemeq sogope tes toiyavie hanigande eigetise nemeq oveetaq nekape waypeh piganambe Paadiha pigape wa nasatiwin tes gutaneh taparagande. Ish paimtem savaish toziampe wa hasigenride tes nemeq pagombe Torambi toiyaaingapadonki, Huuvogombe, Waisivogombe, Aingahombe
Neq ovidase Waypeh Northern nekade neq ainga sosonrih tanziampe nanwasuwahande neq nekade tsande nesegande nanrisundaih gande sovay neq Pihe tsande suwandoiq
Tsomah Poolaw
Kiowa, 1870–1958
Oklahoma
Cradle
1897–98
Hide, fur, feather, cloth, and beads
Native Arts acquisition funds, 1941.42
When I see a beaded cradleboard, I know there is a good chance it will be Kiowa as compared to those with painted covers used by many of the other Plains tribes. While admiring the intricate and complex beadwork designs, I’m reminded of what my Kiowa mother told me when I was a young boy. She explained that babies were wrapped snugly (if not tightly) with blankets when placed in the cradleboard. This gave the baby a sense of security and the feeling of being held, resulting more often with a quiet and content baby. Later I learned that the structural design of the cradleboard also provided safety to the baby, similar to the modern child car seat.
Osage artist
Oklahoma
Blanket
1930s
Cloth, wool, ribbon, silk, and beads
Native Arts acquisition funds, 1952.208
When I look at this blanket, I think of the woman who created it and her attention to detail. I am enthralled by her careful choice of colors and her striking design. I think of the hours she spent cutting, folding, and stitching the ribbons together, making sure the angles in the diamonds were precise and leaving no frayed or uneven edges. Then, sewing a single row into the multiple rows and adding the hands of friendship leave me wondering who she made this for. Oh, how I would love to wear this beautiful blanket just once. Dancing around the drum at the I’n-lon-schka. Wouldn’t that be wonderful!
Shan Goshorn
Cherokee, 1957–2018
Oklahoma
Vessel
2015
Watercolor paper splints printed with archival inks and acrylic paint
Gift of Loren G. Lipson, M.D., 2016.27A-C
Shan lifted me in such a way that was so selfless. She saw me when I didn’t see myself. There are so few of us that have those people in our lives that meet us where we are at in these perfect moments.
When I was pregnant with my child at the time, I knew I wanted a homebirth. I saw it as an opportunity to reclaim our culture, our community, and our collective healing. My own journey into birthwork came from that hope for reclamation.
Navajo artist
Dah’iistł’ó (Eyedazzler)
About 1885
Dyed wool and cotton
Gift of John Dunn, 1983.117
I was given an Eyedazzler rug when I was born, so I always keep it with me. I know this style of rug is a reference to a time period when the Navajo were introduced to new materials and influenced by the Pueblo and Spanish people they came in contact with. This style of weaving not only carries a historic reference, but on a personal level is a mediation on the intersections of cultures and ideas I have come across in my own life, and how those experiences have shaped my own world view and perspectives.
Attributed to Ojibwe artist
Bag
1900–30
Twining, wool yarn, and cotton string
Gift of Dr. Dean Taylor, 1990.245
In recent years, a few Minnesota women have begun to revive the practice of finger weaving bags. Some of these women come from families who kept the tradition alive through the years, while others are examining the techniques used on the bags in museum collections. Much was lost through years of assimilation and cultural genocide, so it is important for us as Indigenous people to remember those who came before and honor them by making things that connect us to and rebuild our traditions.
Navajo artist, Rug, Before 1950. Woven wool; 65 x 66 ½ in. Denver Art Museum: Native Arts acquisitions fund, 1950.186
Navajo artist
Sandpainting Weaving
Before 1950
Wool
Native Arts acquisition funds, 1950.186
In my work, I use a form of contemporary sandpainting because I want to pay homage to my ancestors and because sandpainting is an extension of my identity, but I also want to build an appreciation for the process. In the end, sandpainting is about healing and connecting. I hope my art does that, too, just in a different way.
Ho-Chuck (Winnebago) artist, Applique Outfit, late 1960s. Synthetic fabric ribbon, wool, hide, brass, bone, glass beads and German silver; Shirt: 20 ¾ x 32 7/8 x 32 ¼ in. Skirt: 33 ½ x 18 ¾ x 11 in. Hair Tie: 37 in x 3 3/8 in. Brooches: 11/16 in, 1 15/16 in, ¾ in. dia. Denver Art Museum: Bequest from Charles J. Norton, 1999.233.1-4
Ho-Chunk (Winnebago)
Ribbonwork Outfit with Necklace
Late 1960s
Synthetic fabric, ribbon, hide, bone, brass, and glass beads
Bequest of Charles J. Norton, 1999.233.1-3
As you look upon this dance regalia, try to visualize the movement of the ribbon, the prayer of the dance, and the strength of the woman wearing it. As a Meskwaki (Sac and Fox) woman, I am proud to be a part of the resurgence of this once dwindling style of dance, ‘Women’s Applique’ or ‘Old Style Scrub.’ Following my grandmother’s path, I continue the legacy—emulating dignity, grace, and power in each movement.
Osage artist
Oklahoma
Wedding Coat and Hat
1900s
Cloth,metal, and feathers
Native Arts acquisition fund, 1963.157, 1963.169
The wedding coats worn by Osage women can be traced back to military stock coats. These were given to Osage leaders during negotiations and as gifts have a rich history and cultural significance. Originally used in formal and ceremonial contexts, these coats evolved into important symbols in Osage society. Women began wearing these coats as part of their wedding attire, making them a hallmark of Osage weddings.
Osage artist
Oklahoma
Blouse and Brooch
Early 1900s
Silk with German silver brooch
Native Arts acquisition funds, 1949.127.1-3
The traditional Osage “tear shirts” are a significant aspect of the Osage Nation’s attire. Historically, these shirts were constructed by tearing rectangular pieces of fabric. The design incorporated a single continuous piece for the sleeves, front, and back, allowing for easy tearing of the material. This artist used an embroidery hand stitch, reflecting meticulous craftsmanship.
Wabaka, the Osage term for brooches or pins, is an important form of adornment in traditional attire, often worn in multiples. The origins of using German silver is likely linked to historical trade relationships and exchanges.
San Carlos Apache artist
Arizona
Saddle Bag
1870s
Hide and cloth
Native Arts acquisition funds, 1947.197
As the Apache acquired horses, the animals became a highly valuable asset, enabling tribes to transport more, hunt larger game, and increasing economic value. To reflect their importance, horses were often adorned in regalia, or ceremonial clothing. The saddlebags featured wool beneath cutout leather, with a striking pop of red. Apache beadwork and leatherwork commonly showcased geometric and symmetrical aesthetics, adding further beauty to their designs and highlighting the significance of the horse in their culture.
As a former Artist-in-Residence at the Denver Art Museum, I had the privilege of closely examining collections of Apache and Ute items. Among these was this saddle bag, which particularly inspired me. Drawing from its shapes, I created a piece entitled "Apache Stars," crafted from hide, red mylar, rope, and wood. This piece was influenced by the saddle bag's unique forms. When illuminated directly, the red mylar cut-outs within the hide cast shadows that fragmented into patterns resembling organic stained glass. Objects, like the saddle bag, continue to inspire artists today, urging us to reinterpret the meanings they embody.
Sid Whiting Jr.
Sičháŋǧu Lakȟóta
Lives and works in Colorado
Breastplate and Armbands
About 2000
Bullet casings, beads, gauge wire, hair, and leather
Gift of Sidney Whiting Jr., 2022.4A-C
The breastplate and armbands symbolize the struggle for individual food sovereignty. Being a part of traditional Native American men’s regalia, the brass bullet casings represent the many different struggles of acquiring food in the traditional way of my people. The Lakȟóta peoples were hunter gatherers whose existence relied heavily on the hunting of meat while taking animals for sustenance. As on the pendants’ bison beard, art represents our struggles and endeavors.
Jeffrey Gibson
Mississippi Band Choctaw, Cherokee, born 1972
Lives and works in New York
one becomes the other
2014–16
Single channel video
Duration 19 min. 25 sec.
Gift of Jeffrey Gibson, 2016.9
Jeffrey Gibson
Mississippi Band Choctaw, Cherokee, born 1972
When I first watched this video, I got an overwhelming sense that our elders would be leaving us. John Emhoolah and Virginia Allrunner shared their nations with our Denver Native community. That meant a lot because our families weren’t here. At the end of the video, John is talking in Kiowa, and he breaks into an old-time song. Virginia is dancing down the ramp towards a light in storage. I understood then that our elders are leaving us, and a strong feeling touched my heart and soul. Those two were a big, strong part of our community for a long time.
Mandan or Arikara artist
Belt
Before 1915
Hide and porcupine quills
Gift of W. B. “Dub” and Maxine Blankenship, NAC.2015.14
Women from my community must “buy” the right to do quillwork, which means you bring food and a blanket to an expert quillworker and ask them to teach you their specialized knowledge. Once they acquire this knowledge, a quillworker will make a wide variety of treasured items for the people they love. This belt resonates with that love and respect—for learning, your chosen teacher, the materials necessary to create beauty, and the family and clan relationships that hold and protect us.
Contributors
Learn more about the artists who contributed to the Our Voices labels in the Indigenous Arts of North America galleries.
Artist/activist Gregg Deal (Pyramid Lake Paiute). Lives and works in Colorado Springs, Colorado. Learn more at greggdeal.com.
Markel Wallace (Haida). Lives and works in Ketchikan, Alaksa. Great-great-granddaughter of master carver Dwight Wallace (Gid K’wáajuss)
Markel Wallace at the Land Otter Pole Raising Ceremony held at the Denver Art Museum in November 2019. During this ceremony, Wallace and her family were invited to reconnect with their ancestors through the pole by placing their hands on its surface. Learn more about this ceremony.
Terrance Jade (Oglála Lakȟóta), Musician/Rapper. Lives and works in Pine Ridge Wounded Knee.
Nicole Myers-Lim (Pomo), Executive Director, The California Indian Museum and Cultural Center. Lives and works in Santa Rose, California. Learn more at CIMCC.org.
Ula Tyler (Eastern Shoshone Tribe, Sheep Eater Mountain Shoshone), Elder. Lives in Fort Washakie, Wyoming.
Rick Waters (Kiowa and Cherokee), Executive Director of the Denver Indian Center, Inc. Lives and works in Denver, Colorado.
Jan N. Jacobs (Osage), Indigenous Community Advisory Council Chair, Denver Art Museum. Lives and works in Denver, Colorado.
Jasha Lyons Echo-Hawk (Seminole, Pawnee), Birthworker/Community Organizer. Lives and works in Tulsa, Oklahoma.
Steven Yazzie (Navajo/Laguna Pueblo), Artist. Lives and Works in Denver, Colorado. Learn more at yazziestudio.com.
Jeffrey Chapman (White Earth Ojibwe), Artist/Adjunct Faculty, Minneapolis Community & Technical College. Lives and Works in Minneapolis, Minnesota.
JayCee Beyal (Navajo), Artist. Lives and works in Denver.
Erlidawn Roy, Ogimaa Giizhig Ikwe (Meskwaki, Anishinaabe, Laguna Pueblo, and Isleta Pueblo), Community Advocate/Artist. Lives and works in Denver.
Montoya Whiteman (Cheyenne and Arapaho). Lives in Brighten, Colorado.
Photo by Jason Sinn Photography.
Chelsea Kaiah (White River Ute and White Mountain Apache) is an artist and activist. Lives in Lakewood, Colorado.
Sid Whiting Jr. (Sičháŋǧu Lakȟóta) is an educator and community organizer. Lives in Wheat Ridge, Colorado.
Felicia Alvarez (Shoshone) is a respected community member who serves on our Indigenous Community Advisory Council and has worked at the DAM for almost 30 years. She is a founding member of the annual Healing Hoop powwow. Lives in Northglenn, Colorado.
Angela Parker (Mandan, Hidatsa, Cree) is an Assistant Professor at the University of Denver researching Native American history of the 1900s. Lives in Boulder, Colorado
Our Commitment to Indigenous Communities
The Denver Art Museum is located on the homeland of the Arapaho, Cheyenne, and Ute people, along with many people from other Indigenous nations that call this place home. Museums have benefited from the displacement of Indigenous people and the removal and historical misrepresentation of their arts, often resulting in deep harm to originating communities.
While we cannot change the past, we can change how we move forward. Indigenous people have made substantial impacts to our institution, and our identity is innately tied to the Native histories and contributions of Indigenous people past and present. This inspires and grounds us as we move forward in a better way.
We commit to:
- Building authentic and sustained relationships with Indigenous people at multiple touch points across the museum.
- Centering, elevating and supporting Indigenous people in our programs and practices and providing meaningful access to our resources including collections, programs, tools, and spaces.
- Actively listening to and integrating Indigenous voices to grow as an inclusive and accessible space.
