Education Committee Vacancies
Tipi Drawing
Name:___________________________________________________________
Address:_________________________________________________________
Any Tribal member interested in serving on the Education Committee must
fill out this form and return it to the address below prior to July 8, 2015.
Please mail or fax your application to Confederated Tribes of Siletz Indians,
Attn: Executive Secretary to Tribal Council, P.O. Box 549, Siletz, OR 97380-
0549; fax 541-444-8325.
Phone:____________________________________ Roll #:_________________
Name: _____________________________________ Roll No: ________________
For Siletz Tribal members to use during the Nesika Illahee Pow-Wow on
Aug 7-9, 2015.
One entry per household. Must be a Siletz Tribal member to enter.
Deadline for entries is June 26, 2015. Name will be drawn soon after the
deadline.
Return the form to Siletz Pow-Wow, Attn: Tipi Drawing, P.O. Box 549, Siletz,
OR 97380-0549.
Note: You do not win the tipi. The drawing is only for a stay in the tipi during
pow-wow weekend.
Address: ________________________________________________________
City: __________________________ State: _______________ ZIP: __________
Telephone: Day ( ) __________________ Evening ( ) ______________________
____ Education Committee (2 vacancies)
Committee appointments will be made at the Regular Tribal Council meet-
ing in July.
For more information about the Siletz Tribal language program, please visit siletzlanguage.org.
Photos, continued from page 1
the exhibition will showcase contem-
porary portraiture by American Indian
photographers alongside Curtis’ work. In
juxtaposing a non-Native with Native per-
spectives, the exhibition asks audiences
to think critically about the portrayal of
Native experience through photography.
Zig Jackson (Mandan, Hidatsa and
Arikara, b. 1957), also is known as Ris-
ing Buffalo. A graduate of the University
of New Mexico and the San Francisco
Art Institute, he was the first American
Indian photographer to enter the Library
of Congress’ distinguished photography
collection.
Jackson explores the ways in which
popular American culture continues to
perpetuate the myth of the “noble sav-
age.” He works to dismantle stereotypes
and paternal modes of thinking, draw-
ing attention to the power relationship
between photographers and their subjects
in his series, including Indian Photo-
graphing Tourist Photographing Indian,
and Indian Photographing Tourist Pho-
tographing Sacred Sites, which are both
amusing and painful in their depiction of
non-Natives who continue to treat Ameri-
can Indians as exotic subjects.
Portland-based artist Wendy Red
Star (Apsa’alooke, b. 1981), studied
sculpture at the University of Montana
and earned her MFA from UCLA. Raised
on the Crow reservation in south-central
Montana, her multimedia works explore
the intersections of traditional American
Indian culture and contemporary society.
Peelatchiwaaxpáash/Medicine Crow
(Raven) & the 1880 Crow Peace Delega-
tion (2015), a recent museum acquisition,
will be on display in Capturing Indians.
Red Star’s reinterpretation of a famous
historical photograph of Crow Nation
officials during a visit to Washington,
D.C., questions the original uses of rep-
resentational photographs of American
Indians by individuals such as Curtis
while acknowledging their continued cir-
culation in contemporary popular culture.
4
•
Siletz News
•
Edward Curtis, Black Eagle, Nez Percé,
1911, photogravure, from The North
American Indian
Matika Wilbur (Swinomish, Tulalip,
b. 1984) is a graduate of the Brooks Insti-
tute of Photography. She currently is work-
ing on Project 562, a documentary project
that will, when completed, represent indi-
viduals from all 562 federally recognized
Tribal nations in the United States.
Like Curtis a century ago, Wilbur
photographs individuals and records their
oral histories. She aims to demonstrate
that American Indians are not a “vanish-
ing race” as characterized by Curtis, but
individuals belonging to strong and varied
communities who contribute to and influ-
ence the greater American society.
Will Wilson (Diné, b. 1969) studied
photography at Oberlin College and the
University of New Mexico. His project,
The Critical Indigenous Photographic
Exchange, engages directly with Curtis’
photographic legacy by replacing the dom-
inant, 20 th century non-Native perspective
with a 21 st century indigenous viewpoint.
His subjects actively participate in the
photographic portrait process by includ-
ing significant objects of their own choos-
May 2015
Zig Jackson, Untitled, 1998, from the series Entering Zig’s Reservation, gelatin
silver print; courtesy of the artist
ing, actively reinserting personal voices
and indigenous authority to the portraits.
Capturing Indians: Native Photogra-
phers and the Edward Curtis Legacy is
organized by the Portland Art Museum
and co-curated by Deana Dartt, Ph.D.,
Curator of Native American Art, and
Julia Dolan, Ph.D., the Minor White Cura-
tor of Photography.
This exhibition is made possible by
generous support from the Paul G. Allen
Family Foundation, Pat and Trudy Ritz,
Jim and Susan Winkler, and Exhibition
Series Sponsors.
About the Portland Art Museum
The seventh oldest museum in the
United States, the Portland Art Museum
is internationally recognized for its per-
manent collection and ambitious special
exhibitions drawn from the museum’s
holdings and the world’s finest public and
private collections.
The museum’s collection of more
than 45,000 objects, displayed in 112,000
square feet of galleries, reflects the his-
tory of art from ancient times to today.
The collection is distinguished for its
holdings of arts of the native peoples of
North America, English silver and the
graphic arts.
An active collecting institution dedi-
cated to preserving great art for the enrich-
ment of future generations, the museum
devotes 90 percent of its galleries to its
permanent collection.
The museum’s campus of landmark
buildings, a cornerstone of Portland’s
cultural district, includes the Jubitz Cen-
ter for Modern and Contemporary Art,
the Gilkey Center for Graphic Arts, the
Schnitzer Center for Northwest Art, the
Northwest Film Center and the Confed-
erated Tribes of Grand Ronde Center for
Native American Art.
With a membership of more than
22,000 households and serving more than
350,000 visitors annually, the museum
is a premier venue for education in the
visual arts.
The Portland Art Museum welcomes
patrons with disabilities. For information
on exhibitions and programs, call 503-
226-2811 or visit portlandartmuseum.org.