www.artnews.com Open in urlscan Pro
2a04:fa87:fffd::c000:4267  Public Scan

Form analysis
4 forms found in the DOM

GET https://www.artnews.com/results/

<form method="get" action="https://www.artnews.com/results/" class="search-form"><input type="text" name="q" placeholder="Search" id="small_search_form"><input type="submit" value="Search"></form>

GET https://www.artnews.com/results/

<form method="get" action="https://www.artnews.com/results/" class="search-form"><input type="text" name="q" placeholder="Search" id="small_search_form"><input type="submit" value="Search"></form>

Name: email-capture-form — POST https://cloud.email.artnews.com/artnews-api

<form class="o-email-capture-form lrv-js-EmailCapture u-align-self-stretch@desktop pmc-recaptcha-enterprise-form" method="post" action="https://cloud.email.artnews.com/artnews-api" name="email-capture-form" target="_blank">
  <div class="o-email-capture-form__inner ">
    <div class="c-email-field  ">
      <label class="c-email-field__label lrv-a-screen-reader-only" for="">Email</label>
      <input class="c-email-field__input undefined lrv-u-border-a-0 lrv-u-font-size-14 lrv-u-width-100p u-box-shadow-inset lrv-u-margin-b-1 lrv-u-padding-lr-1 lrv-u-padding-tb-050 lrv-u-border-radius-5" name="EmailAddress" id="" required=""
        type="email" placeholder="Email" pattern="[a-z0-9._%+-]+@[a-z0-9.-]+\.[a-z]{2,4}$">
    </div>
    <button class="c-button larva  lrv-a-unstyle-button lrv-u-cursor-pointer lrv-u-background-color-black lrv-u-color-white lrv-u-border-radius-5 lrv-u-width-100p lrv-u-text-align-center lrv-u-padding-a-050 lrv-u-font-weight-bold u-box-shadow-dark"
      type="submit">
      <span class="c-button__inner "> Subscribe Today </span>
      <span class="lrv-a-screen-reader-only">Sign Up</span>
    </button>
  </div>
  <input type="hidden" name="__contextName" value="FormPost">
  <input type="hidden" name="__executionContext" value="Post">
  <input type="hidden" name="__successPage" data-email-capture-success-url="https://cloud.email.artnews.com/artnews-signup/?signup=success" value="">
  <input type="hidden" name="ARTnews_Today_Opted_In" id="artnews_today_opted_in" value="Yes">
  <input type="hidden" name="ARTnews_Today_Opt_In_Date" id="artnews_today_opt_in_date" value="2024-09-20">
  <input type="hidden" name="ARTnews_Breakfast_Opted_In" id="artnews_breakfast_opted_in" value="Yes">
  <input type="hidden" name="ARTnews_Breakfast_Opt_In_Date" id="artnews_breakfast_opt_in_date" value="2024-09-20">
  <input type="hidden" name="ARTnews_Sponsored_Opted_In" id="artnews_sponsored_opted_in" value="Yes">
  <input type="hidden" name="ARTnews_Sponsored_Opt_In_Date" id="artnews_sponsored_opt_in_date" value="2024-09-20">
</form>

GET https://www.artnews.com/results/

<form method="get" action="https://www.artnews.com/results/" class="search-form"><input type="text" name="q" placeholder="Search" id="small_search_form"><input type="submit" value="Search"></form>

Text Content

Skip to main content

 * 
 * 
 * 
 * 

Follow Us
 * Icon Link Plus Icon
 * Icon Link Plus Icon
 * Icon Link Plus Icon
 * Icon Link Plus Icon
 * Icon Link Plus Icon
 * Icon Link Plus Icon

Newsletters
Plus Icon Click to Expand Search Input

ARTnews Est. 1902
Subscribe TO ART IN AMERICA
Plus Icon Click to expand the Mega Menu
 * News
 * Market
 * Artists
 * ARTnews Recommends
 * Top 200 Collectors
 * Digital Issue
 * Art in America

Plus Icon Click to expand the Mega Menu Menu
Read Next


ART WORLD SCAMMER ANNA DELVEY WAS INTERVIEWED BY INTERNET ICON ZIWE, WITH
PREDICTABLY OUTRAGEOUS RESULTS

ARTnews
Subscribe TO ART IN AMERICA
Plus Icon Click to Expand Search Input



 * Home
 * ARTnews
 * Artists


GETTY’S PST ART EXHIBITIONS TAKE AN EXPANSIVE VIEW OF SCIENCE TO CENTER
INDIGENOUS KNOWLEDGE

By Harrison Jacobs

Plus Icon


HARRISON JACOBS

Plus Icon harrisonxjacobs

MORE STORIES BY HARRISON

 * Getty’s PST ART Exhibitions Take an Expansive View of Science to Center
   Indigenous Knowledge
 * Owners of Marlborough Gallery Put London Building Up for Sale for Over $32 M.
 * Art World Con Artist Anna Delvey to Compete on ‘Dancing with the Stars’

View All
September 19, 2024 10:00am
 * 
 * 
 * 
 * 
 * 
 * 
 * 
 * 
 * 
 * 
 * 
 * 


An installation view of several works in the "We Live in Painting" exhibition at
LACMA. On the right and hanging in the center are several works by Porfirio
Gutiérrez. Photo © Museum Associates/LACMA

On first glance, one might be forgiven for wondering how the Los Angeles County
Museum of Art’s new exhibition, “We Live in Painting: The Nature of Color in
Mesoamerican Art,” fits into PST ART. For the 2024 edition of the recurring
initiative, over 70 cultural institutions, supported by $20 million in grants
from the Getty Foundation, will open shows based around the theme of “Art &
Science Collide.” The LACMA exhibition, which opened Sunday, initially appears
as a historical exhibition, featuring over 270 Mesoamerican ceramic vessels,
mural fragments, stone sculptures, and textiles, over half of which are drawn
from the museum’s permanent collection. There are also artworks and
archaeological artifacts on loan from Mexico’s Instituto Nacional de
Antropología e Historia and two rare, spectacular Mesoamerican codices from
Oxford University’s Bodleian Library. A reasonable viewer might ask, where is
the link to science?




RELATED ARTICLES


GETTY MUSEUM RETURNS FUNERARY ARTIFACT TO TURKEY


HELEN PASHGIAN, A PIONEER OF CALIFORNIA'S LIGHT AND SPACE MOVEMENT, CONTINUES TO
PRODUCE WORK THAT ASTOUNDS



At a press preview last week, California-based, Zapotec textile artist Porfirio
Gutiérrez offered an answer. “Color comes from nature. Color is actually an
extension of the information that each textile—in this case, the sculptures and
the skeins of yarn—is a representation,” he said. “It is a database of the
plants and where and when the plants were harvested.”

Threaded throughout the exhibition are commissioned works by Gutiérrez, as well
as other contemporary Nahua, Tzotzil, Mixtec, and Zapotec artists, who have
revived and reinterpreted Indigenous practices of pigment production, dyeing,
weaving, and watercolor painting on amate bark paper. These works are the most
entrancing of the exhibition, their colors deep and earthy. Two wool tapestries
by Gutiérrez, one dyed darkening shades of blue and another turned crimson and
black, demonstrate the richness of the pigments. Watercolor paintings by Eva
Peréz Martínez, Jesús Lozano Paredes, Gisela Martínez Morales, Alfonso Nava
Larios, and Rodolfo Rojas Bello, and an accompanying vitrine of swatches, show
the breadth and variety that can be achieved through natural dye production, via
materials like cochineal insects, marigold flowers, black walnut, and indigo.
Linea del Tiempo, an installation of eighteen hanging wool skeins by Gutiérrez,
each dyed a different shade, demonstrates the process. The colors, as he
explained, are records of the climate, ecology, and location of materials
harvested.


Eva Peréz Martínez (Nahua), Zacatlaxcalli Vignette, 2023. Courtesy of Los
Angeles County Museum of Art, commissioned with funds provided by Lillian
Weiner, © Eva Peréz Martínez, photo by Javier Hinojosa

“In the Western world, the view of science is extremely narrow, and there hasn’t
been an opportunity to expand on that vocabulary of what that means to these
contexts,” he said. “Each work represents a time and a history. … It’s a
database that archives this information so that we can go and look at one of
these textiles and we know what happened 20 or 40 or 400 years ago through the
colors.”

This contemporary representation of Indigenous practices is accompanied by a
presentation of research by MOLAB, a European initiative analyzing the
Mesoamerican codices—which are breathtakingly preserved artifacts in their own
right—and the National Autonomous University of Mexico’s Prehispanic Mural
Painting in Mexico Project, which analyzes Mesoamerica mural painting
traditions. 

“We Live in Color” is far from the only exhibition in this year’s edition of PST
ART to either embed or center Indigenous knowledge in its conception of science
and technology. At LACMA, there is also “Mapping the Infinite: Cosmologies
Across Cultures,” opening October 20, which links Indigenous cosmologies and
conceptions of time and cosmic structure, with that of European, Middle Eastern,
and Asian cultures. (The Griffith Observatory is screening an accompanying film
on the topic, Pacific Standard Time.)

At UCLA’s Fowler Museum, “Sangre de Nopal” focuses specifically on the
Indigenous development and use of cochineal dye and also features work by
Gutiérrez and fiber artist Tanya Aguiñiga. The Broad’s contribution to PST ART
includes the public reforestation project Social Forest: Oaks of Tovaangar, in
which 100 native trees will be planted in Los Angeles’ Elysian Park. Inspired by
Joseph Beuys’s 1982 project 7000 Oaks for Documenta 7, the reforestation project
is being done in partnership with nonprofit North East Trees, archaeologist
Desiree Renee Martinez (Tongva), and artist Lazaro Arvizu, Jr. and is
accompanied by educational programs that incorporate the knowledge and practices
of the Tongva, one of Southern California’s Indigenous peoples.


Cannupa Hanska Luger. Sovereign, 2024. Ceramic, steel, glass, fiber, paper,
detritus, three-channel video projection, sound installation. Courtesy of the
artist and Garth Greenan Gallery, New York. Photo: Jeff McLane

For “Breath(e): Toward Climate and Social Justice,” which opened Saturday, the
Hammer Museum commissioned Indigenous artist Cannupa Hanska Luger to create
Sovereign, a site-specific sculptural, video, and audio installation featuring
three Indigenous space travelers wearing “sovereignty suits,” which nod to 1950s
Hollywood science-fiction tropes. His travelers exist in a future realm where
civilization has collapsed and humans have developed new modes of survival,
care, and knowledge transfer. During a panel discussion for PST Art last week,
Luger, a member of the Three Affiliated Tribes of Fort Berthold in North Dakota
and of Mandan, Hidatsa, Arikara, Lakota, and European descent, explained that
the work is based around his ongoing project Future Ancestral Technologies,
which engages with possibilities for Indigenous futures, as well as the
incorporation of ancestral knowledge today.

“As an Indigenous person, I am always trapped in this idea that our history and
our cosmology is trapped in the past. Simultaneously, I’m watching green
economies develop that seem to be co-opting Indigenous knowledge, and I’m like,
‘Can we acknowledge where that technology comes from, and then you’ll have
10,000 years of proof-of-concept versus five years of playing the game with
investors?” he said. Later, Luger added that he hopes to “move Indigenous ideas,
which are a technology, through the mechanisms of technology that we are
developing today.”

Luger has also contributed one of the 58 works in the Autry Museum of the
American West’s “Future Imaginaries: Indigenous Art, Fashion, and Technology,”
which opened September 7. That exhibition centers on “Indigenous Futurisms,” a
concept coined by scholar Grace Dillon (Anishinaabe) in 2012 to describe the
growing movement in Indigenous arts and culture. Curators Amy Scott, Amber Dawn
Bear Robe (Siksika), Kristen Dorsey (Chickasaw), and Suzanne Newman Fricke
divide the exhibition into three sections: fashion, science fiction, and
“Critical Mass: Indigenous Technologies, Ecologies, and the Future.” 


Jai Nopek, Recon, Watchman, 2022. Virgil Ortiz (Cochiti Pueblo). Courtesy of
Virgil Ortiz

Similar to the curatorial approach to an expanded notion of science in “We Live
in Painting,” the final section of “Indigenous Futurisms” broadens the
understanding of “technology” to incorporate Indigenous knowledge systems. In
Suzanne Kite (Oglála Lakȟóta) and Devin Ronneberg’s interactive sculpture ÍŊYAŊ
IYÉ (TELLING ROCK), visitors are encouraged to move the hanging sculpture’s long
braids; a custom AI shifts how it emits light and sound in response to how the
braids are touched. As the title indicates, the work speaks to the Lakota
cosmological conception that inanimate objects have souls and communicate, and
therefore should be handled respectfully. It’s easy to see how that simple idea
has dramatic implications for how one treats and understands the world and our
environment. (Kite recently talked to ARTnews about the importance of embedding
Indigenous design into AI.)

As Newman Fricke explained in a curator roundtable published in the Future
Imaginaries catalog, there is an ongoing Indigenous effort to redefine
“technology” beyond computers, phones, and circuit boards. 
“Technology is any process that has been refined,” she says, adding that in a
conversation with Pueblo artist Virgil Ortiz, who contributed a site-specific
installation to the exhibition, they talked about how artists’ understanding of
materials is a technology.

That idea is no more apparent than in “We Live in Painting,” where Indigenous
artists and scientific researchers are still trying to figure out how to
reproduce the pigments recorded in the Mesoamerican codices on display. Future
Ancestral Technologies, indeed. 

READ MORE ABOUT:

 * Getty
 * Indigenous art
 * PST Art




MOST-READ STORIES


 * TEHRAN MUSEUM LOSES 30 PAINTINGS IT LOANED OUT, IDENTITY OF…
   
   


 * SOUTH AFRICAN CAVE ART MAY DEPICT EXTINCT ANIMAL FROM 250…
   
   


 * ART WORLD SCAMMER ANNA DELVEY WAS INTERVIEWED BY INTERNET…
   
   


 * SYDELL MILLER'S $200 M. ART COLLECTION SET FOR SOTHEBY'S…
   
   


ART IN AMERICA

The World's Premier Art Magazine since 1913. Subscribe today and save!

Subscribe Sign Up
ARTnews

Sign Up for our Newsletters

Email
Subscribe Today Sign Up
By providing your information, you agree to our Terms of Use and our Privacy
Policy. We use vendors that may also process your information to help provide
our services. // This site is protected by reCAPTCHA Enterprise and the Google
Privacy Policy and Terms of Service apply.





NEWSWIRE

RobbReport


JETBLUE IS OPENING ITS FIRST AIRPORT LOUNGES IN N.Y.C. AND BOSTON TO CATER TO
TOP-TIER FLIERS

WWD


LOUIS VUITTON AMBASSADOR SOPHIE TURNER REVEALS WHAT’S IN HER HANDBAG

BGR


HOW TO GET APPLE INTELLIGENCE ON YOUR IPHONE 16 ON DAY 1

Sportico


SHOHEI OHTANI WORTH EVERY CENT AS HE REACHES 50/50 MARK

SPY


THE BEST YOGA MATS FOR ANY PRACTICE, ACCORDING TO INSTRUCTORS

ART MEDIA

 * About Us
 * Accessibility
 * Advertise
 * PMC Fashion & Luxury

LEGAL

 * Terms of Use
 * Privacy Policy
 * 
 * AdChoices
 * 
 * 
 * AdChoices

SUBSCRIBER SUPPORT

 * Subscribe to AiA Magazine
 * Purchase Back Issues
 * Contact Us


CONNECT WITH US

Get our latest stories in the feed of your favorite networks

 * Icon Link Plus Icon
 * Icon Link Plus Icon
 * Icon Link Plus Icon
 * Icon Link Plus Icon
 * Icon Link Plus Icon
 * Icon Link Plus Icon


HAVE A TIP?

We want to hear from you! Send us a tip using our anonymous form.

Send Us a Tip Sign Up


STAY IN THE KNOW

Subscribe to our newsletters below

ARTnews
Art In America Logo
Icon Link Plus Icon

ARTnews is a part of Penske Media Corporation. © 2024 Art Media, LLC. All Rights
Reserved.

Powered by WordPress.com VIP

OUR SITES

 * Art in America
 * Artforum
 * Artnews
 * ATX TV
 * ATX TV Festival
 * BGR
 * Billboard
 * BlogHer
 * Deadline
 * Flow Space
 * Footwear News
 * GoldDerby
 * IndieWire
 * LA3C
 * Life is Beautiful
 * Robb Report
 * Rolling Stone
 * SheKnows
 * Soaps
 * Sourcing Journal
 * Sportico
 * Spy
 * StyleCaster
 * The Hollywood Reporter
 * TVLine
 * Variety
 * Vibe
 * WWD

Close the menu
Menu

 * ARTnews Expand the sub menu
   * News
   * Reviews
   * Market
   * Artists
   * ARTnews Recommends
 * Art In America Logo Expand the sub menu
   * Reviews
   * Features
   * Interviews

 * Art Collectors Expand the sub menu
   * Top 200 Collectors
   * Browse the Top 200
 * Subscriber Support Expand the sub menu
   * Subscribe to ARTnews Magazine
   * Subscribe to AiA Magazine
   * Purchase back issues
   * Contact Us
 * Partners Expand the sub menu
   * Fine Art Shippers
   * Knight Foundation
   * Otto Antoine
   * Ronchini Gallery

 * 
 * 
 * 
 * 

Icon Link Plus Icon ARTnews is a part of Penske Media Corporation. © 2024 Art
Media, LLC. All Rights Reserved.
ad


Your Privacy Rights
Close privacy/terms of use policy
Penske Media Corporation (PMC) uses first and third-party cookies, pixels,
scripts and similar technologies to enable PMC and third-party service providers
and partners to collect information about you and your interactions with our
sites and services (including clicks, cursor movement and screen recordings).
Learn more about our practices and your choices in our Privacy Policy. By
continuing to use our sites or services, you agree to our Terms of Use
(including the class action waiver and arbitration provisions) and Privacy
Policy, which have recently changed.


PRIVACY PREFERENCE CENTER

When you visit any website, it may store or retrieve information on your
browser, mostly in the form of cookies. This information might be about you,
your preferences or your device and is mostly used to make the site work as you
expect it to. The information does not usually directly identify you, but it can
give you a more personalized web experience. Because we respect your right to
privacy, you can choose not to allow some types of cookies. Click on the
different category headings to find out more and change our default settings.
However, blocking some types of cookies may impact your experience of the site
and the services we are able to offer.
More information
Allow All


MANAGE CONSENT PREFERENCES

PERFORMANCE COOKIES

Performance Cookies

These cookies allow us to count visits and traffic sources so we can measure and
improve the performance of our site. They help us to know which pages are the
most and least popular and see how visitors move around the site. All
information these cookies collect is aggregated and therefore anonymous. If you
do not allow these cookies we will not know when you have visited our site, and
will not be able to monitor its performance.

TARGETING COOKIES

Targeting Cookies

These cookies may be set through our site by our advertising partners. They may
be used by those companies to build a profile of your interests and show you
relevant adverts on other sites. They do not store directly personal
information, but are based on uniquely identifying your browser and internet
device. If you do not allow these cookies, you will experience less targeted
advertising.

STRICTLY NECESSARY COOKIES

Always Active

These cookies are necessary for the website to function and cannot be switched
off in our systems. They are usually only set in response to actions made by you
which amount to a request for services, such as setting your privacy
preferences, logging in or filling in forms. You can set your browser to block
or alert you about these cookies, but some parts of the site will not then work.
These cookies do not store any personally identifiable information.

FUNCTIONAL COOKIES

Functional Cookies

These cookies enable the website to provide enhanced functionality and
personalisation. They may be set by us or by third party providers whose
services we have added to our pages. If you do not allow these cookies then some
or all of these services may not function properly.

Back Button


COOKIE LIST



Search Icon
Filter Icon

Clear
checkbox label label
Apply Cancel
Consent Leg.Interest
checkbox label label
checkbox label label
checkbox label label

Confirm My Choices