Luna’s Artifact Piece—where he turned his Indigenous body into a museum exhibit—was a 1980s breakthrough. But the power of his work doesn't end there.
Indigenous art exhibition catalogues are vital for research, writes Richard Hill—and they need to start entering the digital realm.
Richard William Hill rounds up must-read essays, books and critiques that shape how Indigenous art discourses have developed—and how they continue today.
Certain terms seem to function most powerfully when we elide their variety of definitions. “Indigenous art” is one of these.
Solo exhibitions can demonstrate the strength and depth of an artist’s work. Richard Hill discusses three such shows, which reward careful attention.
Despite claims to radically different curating approaches in Indigenous art, the usual canon-building method is common—especially at big museums.
Solo exhibitions are important, but it is often group shows that define artistic movements. Richard Hill picks nine that advanced ideas of Indigenous art.
Using Arthur Koestler’s idea of casting a “secular horoscope,” critic Richard Hill looks at Indigenous art from his birth year—and makes a few predictions.
Some say non-Indigenous ideas shouldn't be used in writings about Indigenous art. But Richard Hill says we need all available tools—and courage to use them.
Richard William Hill continues his explorations of 1980s and 1990s Indigenous art to outline 10 works that changed how we "imagine our place in the world."
Toeing the party line is often a safer choice—and safe choices lead to bad art. Richard William Hill wonders if artists were braver 30 years ago.