Race/Related: The artist redefining what ‘American’ means

Jaune Quick-to-See Smith’s retrospective arrives as the map of the art world seems to be shifting. [View in browser](~/AAAAAQA~/RgRmJkOVP4QpAWh0dHBzOi8vbWVzc2FnaW5nLWN1c3RvbS1uZXdzbGV0dGVycy5ueXRpbWVzLmNvbS90ZW1wbGF0ZS9vYWt2Mj9jYW1wYWlnbl9pZD0zNyZlbWM9ZWRpdF9ycl8yMDIzMDQyMiZpbnN0YW5jZV9pZD05MDc4MCZubD1yYWNlJTJGcmVsYXRlZCZwcm9kdWN0Q29kZT1SUiZyZWdpX2lkPTc3Njc0OTUyJnNlZ21lbnRfaWQ9MTMxMDg0JnRlPTEmdXJpPW55dCUzQSUyRiUyRm5ld3NsZXR0ZXIlMkZhZDZkMzRjNC0zYWQ2LTUzY2YtODI3Yi01MDYyOTVlNzc5MmMmdXNlcl9pZD1hYTQ5MWVmN2YxZDk2NGU0OTc5ZmI3ODRlNzRlMDFkN1cDbnl0QgpkPpW-Q2TrcxeeUht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAAA~)|[nytimes.com](~/AAAAAQA~/RgRmJkOVP0SxaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vP2NhbXBhaWduX2lkPTM3JmVtYz1lZGl0X3JyXzIwMjMwNDIyJmluc3RhbmNlX2lkPTkwNzgwJm5sPXJhY2UlMkZyZWxhdGVkJnJlZ2lfaWQ9Nzc2NzQ5NTImc2VnbWVudF9pZD0xMzEwODQmdGU9MSZ1c2VyX2lkPWFhNDkxZWY3ZjFkOTY0ZTQ5NzlmYjc4NGU3NGUwMWQ3VwNueXRCCmQ-lb5DZOtzF55SG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAAAAA~~)[Continue reading the main story](#a11y-skip-ad-marquee) [Marquee Ad](~/AAAAAQA~/RgRmJkOVP0SZaHR0cHM6Ly9saXZlaW50ZW50Lm5ld3lvcmt0aW1lc2luZm8uY29tL2NsaWNrP3M9MjA3NTgwJmxpPVJSJm09YWE0OTFlZjdmMWQ5NjRlNDk3OWZiNzg0ZTc0ZTAxZDcmcD1SUl8yMDIzMDQyMiZ0ZT0xJm5sPXJhY2UlMkZyZWxhdGVkJmVtYz1lZGl0X3JyXzIwMjMwNDIyVwNueXRCCmQ-lb5DZOtzF55SG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAAAAA~~) [More Race/Related](~/AAAAAQA~/RgRmJkOVP0S_aHR0cHM6Ly93d3cubnl0aW1lcy5jb20vc3BvdGxpZ2h0L3JhY2U_Y2FtcGFpZ25faWQ9MzcmZW1jPWVkaXRfcnJfMjAyMzA0MjImaW5zdGFuY2VfaWQ9OTA3ODAmbmw9cmFjZSUyRnJlbGF0ZWQmcmVnaV9pZD03NzY3NDk1MiZzZWdtZW50X2lkPTEzMTA4NCZ0ZT0xJnVzZXJfaWQ9YWE0OTFlZjdmMWQ5NjRlNDk3OWZiNzg0ZTc0ZTAxZDdXA255dEIKZD6VvkNk63MXnlIbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAAA) April 22, 2023 Jaune Quick-to-See Smith in her home studio in Corrales, N.M., with one of the paintings from her Map series in progress.Brad Trone for The New York Times Communicating the Landscape That Helped Shaped Her By [Jillian Steinhauer](~/AAAAAQA~/RgRmJkOVP0TGaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vYnkvamlsbGlhbi1zdGVpbmhhdWVyP2NhbXBhaWduX2lkPTM3JmVtYz1lZGl0X3JyXzIwMjMwNDIyJmluc3RhbmNlX2lkPTkwNzgwJm5sPXJhY2UlMkZyZWxhdGVkJnJlZ2lfaWQ9Nzc2NzQ5NTImc2VnbWVudF9pZD0xMzEwODQmdGU9MSZ1c2VyX2lkPWFhNDkxZWY3ZjFkOTY0ZTQ5NzlmYjc4NGU3NGUwMWQ3VwNueXRCCmQ-lb5DZOtzF55SG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAAAAA~~) [Jaune Quick-to-See Smith](~/AAAAAQA~/RgRmJkOVP0S-aHR0cHM6Ly93d3cuamF1bmVxdWlja3Rvc2Vlc21pdGgub3JnLz9jYW1wYWlnbl9pZD0zNyZlbWM9ZWRpdF9ycl8yMDIzMDQyMiZpbnN0YW5jZV9pZD05MDc4MCZubD1yYWNlJTJGcmVsYXRlZCZyZWdpX2lkPTc3Njc0OTUyJnNlZ21lbnRfaWQ9MTMxMDg0JnRlPTEmdXNlcl9pZD1hYTQ5MWVmN2YxZDk2NGU0OTc5ZmI3ODRlNzRlMDFkN1cDbnl0QgpkPpW-Q2TrcxeeUht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAAA~) was sitting on the shore of a lake in Montana when she had an epiphany. An artist and curator, Smith was visiting the Flathead Reservation — the home of the [Confederated Salish and Kootenai Tribes,](~/AAAAAQA~/RgRmJkOVP0SvaHR0cHM6Ly9jc2t0cmliZXMub3JnLz9jYW1wYWlnbl9pZD0zNyZlbWM9ZWRpdF9ycl8yMDIzMDQyMiZpbnN0YW5jZV9pZD05MDc4MCZubD1yYWNlJTJGcmVsYXRlZCZyZWdpX2lkPTc3Njc0OTUyJnNlZ21lbnRfaWQ9MTMxMDg0JnRlPTEmdXNlcl9pZD1hYTQ5MWVmN2YxZDk2NGU0OTc5ZmI3ODRlNzRlMDFkN1cDbnl0QgpkPpW-Q2TrcxeeUht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAAA~) of which she is a citizen. She’d been born on the reservation in 1940 and later moved to Albuquerque. On this trip, in 1991, as she looked out at the landscape that had helped shape her, she realized that she needed to do a better job of communicating. “I’m making paintings and I know what they’re about but the viewer doesn’t,” she recalled in a recent interview. Then came the light-bulb moment: Her works were about contemporary Native life, but they were more abstract, less direct in approach. “What if I cut articles out of the newspaper, glue them in, and paint on them, like Rauschenberg did?” she thought. Smith liked Robert Rauschenberg’s process of incorporating cutouts into his works, building his famous collage aesthetic that placed a medley of objects and images on equal footing. “But if I do it,” Smith told herself, “I can make it so that it really says something.” She started placing newspaper clippings on her canvases and painting around and over them. As the idea took hold, she made the layouts more purposeful: juxtaposing excerpts from The New York Times and the Flathead Reservation’s Char-Koosta News, as well as other printed snippets, that, when read together, became suggestive and rhythmic, creating what Smith calls her “rap.” She added found images, bits of fabric, and more expressive passages of paint, all of it simmering behind large, simply rendered icons, like a canoe. In 1992, she hung above one such canvas a series of objects featuring racist Native stereotypes, including a baseball cap from the Cleveland Indians. With a twist of dry humor, she titled her piece, which stretched 14 feet long, “Trade (Gifts for Trading Land With White People).” That monumental, still stunning artwork sits at the heart of “[Jaune Quick-to-See Smith: Memory Map](~/AAAAAQA~/RgRmJkOVP0TRaHR0cHM6Ly93aGl0bmV5Lm9yZy9leGhpYml0aW9ucy9qYXVuZS1xdWljay10by1zZWUtc21pdGg_Y2FtcGFpZ25faWQ9MzcmZW1jPWVkaXRfcnJfMjAyMzA0MjImaW5zdGFuY2VfaWQ9OTA3ODAmbmw9cmFjZSUyRnJlbGF0ZWQmcmVnaV9pZD03NzY3NDk1MiZzZWdtZW50X2lkPTEzMTA4NCZ0ZT0xJnVzZXJfaWQ9YWE0OTFlZjdmMWQ5NjRlNDk3OWZiNzg0ZTc0ZTAxZDdXA255dEIKZD6VvkNk63MXnlIbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAAA),” opening this week at the Whitney Museum of American Art. The exhibition includes some 130 pieces from over five decades, making it the artist’s largest survey. Smith’s is the first retrospective of a Native artist that the New York institution has itself organized, a fact that’s less surprising than it is vexing. [Continue reading the main story](#a11y-skip-universal-0) ADVERTISEMENT [Ad](~/AAAAAQA~/RgRmJkOVP0SZaHR0cHM6Ly9saXZlaW50ZW50Lm5ld3lvcmt0aW1lc2luZm8uY29tL2NsaWNrP3M9MTc0MTQ5JmxpPVJSJm09YWE0OTFlZjdmMWQ5NjRlNDk3OWZiNzg0ZTc0ZTAxZDcmcD1SUl8yMDIzMDQyMiZ0ZT0xJm5sPXJhY2UlMkZyZWxhdGVkJmVtYz1lZGl0X3JyXzIwMjMwNDIyVwNueXRCCmQ-lb5DZOtzF55SG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAAAAA~~) “Trade (Gifts for Trading Land with White People),” 1992, features a large canoe and a collage of oil, paper, newspaper and fabric on canvas. Above the artist hung 31 found objects on a chain. It is on view in “Jaune Quick-to-See Smith: Memory Map” at the Whitney Museum of American Art.Hiroko Masuike/The New York Times “It forces the question of, why not before? Why not more attention to contemporary Indigenous art?” said Laura Phipps, the Whitney’s assistant curator who organized the exhibition with Caitlin Chaisson, a curatorial project assistant. “We’re constantly questioning what ‘American’ means, but in a lot of those conversations, the idea of Native America has not been a part of that.” Smith’s retrospective arrives as the map of the art world seems to be shifting: Contemporary Native artists have been [more visible](~/AAAAAQA~/RgRmJkOVP0TWaHR0cHM6Ly93d3cud21hZ2F6aW5lLmNvbS9jdWx0dXJlL2NvbnRlbXBvcmFyeS1uYXRpdmUtYXJ0aXN0cz9jYW1wYWlnbl9pZD0zNyZlbWM9ZWRpdF9ycl8yMDIzMDQyMiZpbnN0YW5jZV9pZD05MDc4MCZubD1yYWNlJTJGcmVsYXRlZCZyZWdpX2lkPTc3Njc0OTUyJnNlZ21lbnRfaWQ9MTMxMDg0JnRlPTEmdXNlcl9pZD1hYTQ5MWVmN2YxZDk2NGU0OTc5ZmI3ODRlNzRlMDFkN1cDbnl0QgpkPpW-Q2TrcxeeUht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAAA~) and sought after than ever before, in museum commissions and collections and in galleries. Smith, 83, also has a commission in [Counterpublic](~/AAAAAQA~/RgRmJkOVP0TcaHR0cHM6Ly93d3cuY291bnRlcnB1YmxpYy5vcmcvYXJ0aXN0cy0yMDIzL2phdW5lLXF1aWNrLXRvLXNlZS1zbWl0aD9jYW1wYWlnbl9pZD0zNyZlbWM9ZWRpdF9ycl8yMDIzMDQyMiZpbnN0YW5jZV9pZD05MDc4MCZubD1yYWNlJTJGcmVsYXRlZCZyZWdpX2lkPTc3Njc0OTUyJnNlZ21lbnRfaWQ9MTMxMDg0JnRlPTEmdXNlcl9pZD1hYTQ5MWVmN2YxZDk2NGU0OTc5ZmI3ODRlNzRlMDFkN1cDbnl0QgpkPpW-Q2TrcxeeUht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAAA~), a new triennial in St. Louis, and is curating an exhibition featuring some 50 Native artists at the [National Gallery of Art](~/AAAAAQA~/RgRmJkOVP0TZaHR0cHM6Ly93d3cubmdhLmdvdi9wcmVzcy9leGhpYml0aW9ucy9leGhpYml0aW9ucy0yMDIzLzU1NDkuaHRtbD9jYW1wYWlnbl9pZD0zNyZlbWM9ZWRpdF9ycl8yMDIzMDQyMiZpbnN0YW5jZV9pZD05MDc4MCZubD1yYWNlJTJGcmVsYXRlZCZyZWdpX2lkPTc3Njc0OTUyJnNlZ21lbnRfaWQ9MTMxMDg0JnRlPTEmdXNlcl9pZD1hYTQ5MWVmN2YxZDk2NGU0OTc5ZmI3ODRlNzRlMDFkN1cDbnl0QgpkPpW-Q2TrcxeeUht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAAA~). The show, which will open in September, represents more overdue firsts: the first time an artist has ever curated an exhibition there and the first show of Native art at the NGA in 30 years. [Continue reading the main story](#a11y-skip-universal-1) ADVERTISEMENT [Ad](~/AAAAAQA~/RgRmJkOVP0SZaHR0cHM6Ly9saXZlaW50ZW50Lm5ld3lvcmt0aW1lc2luZm8uY29tL2NsaWNrP3M9MjA3NTc3JmxpPVJSJm09YWE0OTFlZjdmMWQ5NjRlNDk3OWZiNzg0ZTc0ZTAxZDcmcD1SUl8yMDIzMDQyMiZ0ZT0xJm5sPXJhY2UlMkZyZWxhdGVkJmVtYz1lZGl0X3JyXzIwMjMwNDIyVwNueXRCCmQ-lb5DZOtzF55SG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAAAAA~~) But if the current wave of attention has opened up new possibilities for Indigenous artists, particularly younger ones, credit is due less to the institutions than to Smith and others of her generation for the tireless work they did to “break the buckskin ceiling,” in her words. The Whitney retrospective makes that clear. Although Smith’s curating and activism are represented only minimally, her paintings, prints and sculptures demonstrate how she took various modern and postmodern artistic languages, including collage, appropriation and Pop Art, and made them her own — or, as she would say, made them Native. Take, for example, “Trade (Gifts for Trading Land With White People),” which, according to the Choctaw-Cherokee artist Jeffrey Gibson, “offers so much allowance and freedom for Native artists.” Gibson spoke of the challenges he has felt in trying to be a Native artist, activist, educator and parent simultaneously. “You need a unified model of how someone can be the same person in all those spaces,” he said. “Jaune has provided that for me.” Smith has always occupied multiple roles. She and her sister were raised by their father, Arthur, after their mother, who gave birth to Smith as a teenager, left. Arthur was a horse trader, and while attending school, Smith worked with him — and in canneries and on farms — throughout her childhood. One of her favorite escapes was to hide in a tree and read books. Smith didn’t get an advanced art degree until she was 40. In high school, a white adviser told her, “Indians don’t go to college,” so she did college prep. When an art teacher told her she drew better than the men, but that “women cannot be artists,” she got an art education degree. Along the way, she met her partner, Andy Ambrose, had children, and worked a variety of jobs to help support them. (Her son Neal Ambrose-Smith is also an artist; two of their collaborations are on view at the Whitney.) [Continue reading the main story](#a11y-skip-universal-2) ADVERTISEMENT [Ad](~/AAAAAQA~/RgRmJkOVP0SZaHR0cHM6Ly9saXZlaW50ZW50Lm5ld3lvcmt0aW1lc2luZm8uY29tL2NsaWNrP3M9NzI4Njk5JmxpPVJSJm09YWE0OTFlZjdmMWQ5NjRlNDk3OWZiNzg0ZTc0ZTAxZDcmcD1SUl8yMDIzMDQyMiZ0ZT0xJm5sPXJhY2UlMkZyZWxhdGVkJmVtYz1lZGl0X3JyXzIwMjMwNDIyVwNueXRCCmQ-lb5DZOtzF55SG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAAAAA~~) In 1976, Smith moved to Albuquerque and started auditing art classes at the University of New Mexico, — it took three applications until the school admitted her. There, she and the Indigenous artists Larry Emerson, Conrad House, Felice Lucero, Emmi Whitehorse and Paul Willeto formed a collective called Grey Canyon. “She’s like a mother hen,” said Whitehorse, who is Navajo and was then an undergraduate at UNM. “She took it on herself to teach me the ropes.” Read the rest of the story [here](~/AAAAAQA~/RgRmJkOVP0TxaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vMjAyMy8wNC8yMC9hcnRzL2Rlc2lnbi9qYXVuZS1xdWljay10by1zZWUtc21pdGgtd2hpdG5leS1hcnQuaHRtbD9jYW1wYWlnbl9pZD0zNyZlbWM9ZWRpdF9ycl8yMDIzMDQyMiZpbnN0YW5jZV9pZD05MDc4MCZubD1yYWNlJTJGcmVsYXRlZCZyZWdpX2lkPTc3Njc0OTUyJnNlZ21lbnRfaWQ9MTMxMDg0JnRlPTEmdXNlcl9pZD1hYTQ5MWVmN2YxZDk2NGU0OTc5ZmI3ODRlNzRlMDFkN1cDbnl0QgpkPpW-Q2TrcxeeUht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAAA~). EDITORS’ PICKS We publish many articles that touch on race. Here are several you shouldn’t miss. 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By Michael Snyder](~/AAAAAQA~/RgRmJkOVP0ToaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vMjAyMy8wNC8yMC90LW1hZ2F6aW5lL2dyYWNpZWxhLWl0dXJiaWRlLW1heWEtZ29kZWQuaHRtbD9jYW1wYWlnbl9pZD0zNyZlbWM9ZWRpdF9ycl8yMDIzMDQyMiZpbnN0YW5jZV9pZD05MDc4MCZubD1yYWNlJTJGcmVsYXRlZCZyZWdpX2lkPTc3Njc0OTUyJnNlZ21lbnRfaWQ9MTMxMDg0JnRlPTEmdXNlcl9pZD1hYTQ5MWVmN2YxZDk2NGU0OTc5ZmI3ODRlNzRlMDFkN1cDbnl0QgpkPpW-Q2TrcxeeUht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAAA~) [[Article Image] Larry Horricks/Searchlight Pictures/20th Century Studios](~/AAAAAQA~/RgRmJkOVP0TYaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vMjAyMy8wNC8yMC9tb3ZpZXMvY2hldmFsaWVyLXJldmlldy5odG1sP2NhbXBhaWduX2lkPTM3JmVtYz1lZGl0X3JyXzIwMjMwNDIyJmluc3RhbmNlX2lkPTkwNzgwJm5sPXJhY2UlMkZyZWxhdGVkJnJlZ2lfaWQ9Nzc2NzQ5NTImc2VnbWVudF9pZD0xMzEwODQmdGU9MSZ1c2VyX2lkPWFhNDkxZWY3ZjFkOTY0ZTQ5NzlmYjc4NGU3NGUwMWQ3VwNueXRCCmQ-lb5DZOtzF55SG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAAAAA~~) [‘Chevalier’ Review: A Black Virtuoso Rocks the Court of Marie Antoinette A new movie about Joseph Bologne, the Chevalier de Saint-George, may owe as much to “Bridgerton” as it does the history books. By Lisa Kennedy](~/AAAAAQA~/RgRmJkOVP0TYaHR0cHM6Ly93d3cubnl0aW1lcy5jb20vMjAyMy8wNC8yMC9tb3ZpZXMvY2hldmFsaWVyLXJldmlldy5odG1sP2NhbXBhaWduX2lkPTM3JmVtYz1lZGl0X3JyXzIwMjMwNDIyJmluc3RhbmNlX2lkPTkwNzgwJm5sPXJhY2UlMkZyZWxhdGVkJnJlZ2lfaWQ9Nzc2NzQ5NTImc2VnbWVudF9pZD0xMzEwODQmdGU9MSZ1c2VyX2lkPWFhNDkxZWY3ZjFkOTY0ZTQ5NzlmYjc4NGU3NGUwMWQ3VwNueXRCCmQ-lb5DZOtzF55SG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAAAAA~~) [[Article Image] Nate Palmer for The New York Times](~/AAAAAQA~/RgRmJkOVP0TraHR0cHM6Ly93d3cubnl0aW1lcy5jb20vMjAyMy8wNC8yMS9hcnRzL2RhbmNlL2RhbmNlLXRoZWF0ZXItb2YtaGFybGVtLWRhbmNlcnMuaHRtbD9jYW1wYWlnbl9pZD0zNyZlbWM9ZWRpdF9ycl8yMDIzMDQyMiZpbnN0YW5jZV9pZD05MDc4MCZubD1yYWNlJTJGcmVsYXRlZCZyZWdpX2lkPTc3Njc0OTUyJnNlZ21lbnRfaWQ9MTMxMDg0JnRlPTEmdXNlcl9pZD1hYTQ5MWVmN2YxZDk2NGU0OTc5ZmI3ODRlNzRlMDFkN1cDbnl0QgpkPpW-Q2TrcxeeUht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAAA~) [Poised for Change at a Company Where Dancers of Color Feel at Home Three senior dancers at Dance Theater of Harlem reflect on working with Virginia Johnson, who is stepping down as its leader. 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