Projects & Proposals: Museums, corporate collections and major private collections

Please enquire if interested in additional editions of Trade Canoe: A Western Fantasy. Zane Bennett has recently acquired two of Quick-to-See's magnificent print.

In Four Sites of Return: Ritual | Remembrance | Reparation | Reclamation, interdisciplinary artist Nikesha Breeze distills decades of creative output and crystallizes deep truths of the Black experience through visual art and ritual performance. For Breeze, Four Sites of Return also represents a mantle passed from their own ancestors in Blackdom, New Mexico, a turn of the century freedom colony with a remarkable American story. Throughout Four Sites of Return, Breeze works fluidly across a wide range of mediums including large-scale figurative painting and drawing, clay and bronze sculpture and mixed-media installation art. The 5,000-square-foot exhibition features six monumental series, representing elements of the titular “Sites of Return.” 

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El Volkswagen is a stellar embodiment of Priscilla Dobler Dzul's artistic practice: deconstructing familiar objects and spaces with fraught histories, only to reconstruct them using materials and techniques of indigenous Mayan agricultural traditions. Politicizing the traditionally-feminine nature of weaving, Dobler Dzul challenges viewers to explore manufacturing and cultural backgrounds of objects in daily life. The strikingly colorful beauty of the life-sized El Volkswagen is only the surface of a fascinating, yet troublesome, history.

MATERIAL: Wood, thread, audio

DIMENSIONS: 132 x 5 x 61.5 in (335.3 x 12.7 x 165.2 cm) 

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A fifteen-year project, The Enculturated White Man: If Early America Had Embraced the Noble Savage Instead of Attempting to Destroy Him by Tamara Burgh (Swede/Inupiat-Kawerak) seeks to artistically answer the question "What if the Indians had won?" Representing an America where the white man adopted Indian symbolism in art and dress, rather than seek to eliminate it, The Enculturated White Man comprises fourteen standing, totem-like sculptures and two wall-hanging pieces. The series suggests a revisionist history of colonial America through a deeply manual meditation on the role of aesthetics in shaping cultural sensibility.  

MATERIALS: Mixed media. Burgh incorporated countless traditional and contemporary methods: Indigenous and early American methods of needlework, colonial pigment-making, wood inlay, mosaic work and fur trapping, among others.

DIMENSIONS: Sculptures range in size.

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CONTENTS: Sculpture accompanied by single-channel color video.

MATERIALS: Anchor, gypsum sand, wood, and mechanical elements.

DIMENSIONS: Sculpture: 57 x 14 x 45 in | 144.8 x 35.6 x 114.3 cm. 

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Hand Tools of Resilience invited African diasporic and Indigenous artists to examine the conscious and unconscious tools that Black and Indigenous people have created to survive, thrive and build within oppressive and abusive systems. They are tools that might extinguish gaslighting and passive racist treatment, shields that represent covert and overt armor and talismans, wedges for loosening systems of supremacy and abuse or chisels for shaping new Black and Indigenous realities. Convened by Nikesha Breeze, the jury included Indigenous artist Rose B. Simpson; Ghanaian artist and activist Kwame Akoto-Bamfo; artist Le’Andra LeSeur, and independent curator Isra Rene.

CONTENTS: 20 mixed media works by 18 artists.

SIZE: Small to mid-size space required.

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