""History is written by the victors," or so goes the quote often misattributed to Winston Churchill. In other words, those who wield the most power or resources are typically the ones whose stories are represented in textbooks, passed down through generations, and etched into our collective consciousness. Without intentional effort, it can be difficult to hear more than a single narrative."
"The canon has always privileged white male artists, from titans of the Renaissance like Michelangelo to bad-boy American Modernists like Jackson Pollock. The foundations of 19th-century American landscape painting, for example, are inextricable from the belief in Manifest Destiny, as the American government violently expanded westward. And Western painting and sculpture have historically reigned supreme in the market-driven hallows of galleries and auction houses."
""In this light, White Hawk reframes Indigenous art and Western abstraction as inseparable practices-linked by a shared history that dominant narratives have labored to separate and obscure.""
Western art history has privileged white male artists and elevated Western painting and sculpture within markets and institutions. Foundations of 19th-century American landscape painting are linked to Manifest Destiny and violent westward expansion. Indigenous art forms have been overlooked despite influencing modern movements. Sičáŋǧu Lakota artist Dyani White Hawk centers the constructed hierarchies of cultural legitimacy, authority, value, and visibility in a multidisciplinary practice. White Hawk connects Indigenous art traditions with 20th-century Western abstraction, arguing that Color Field and Minimalism have deep roots in Native American art forms. Institutional narratives have separated and obscured these linked histories.
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