Abstract
On 20 June 1918, Crescencio Martinez (Ta’e), a painter and pottery designer from San Ildefonso Pueblo, died of influenza [...]
Highlights
While the 1918 epidemic was deadly for Native peoples, it was an intensification of a complex matrix of health crises that had long ravaged Indigenous communities
The fate of many artists born at San Ildefonso around the turn of the twentieth century offers a glimpse of this reality
Tonita Peña (Quah Ah), who was born at San Ildefonso in 1893, was sent to live with her aunt
Summary
While the 1918 epidemic was deadly for Native peoples, it was an intensification of a complex matrix of health crises that had long ravaged Indigenous communities. As is highlighted by the address by Sičáŋǧu Lakota artist Dyani White Hawk Polk included in this Special Issue, contemporary Indigenous artists are creating powerful work that speaks to, and pushes back against, the history and legacy of colonialism. It is a mode that emphasizes Native visual sovereignty, a concept theorized by the Tuscarora artist, art historian, and curator Jolene Rickard.vii Rickard writes that visual sovereignty is part of a larger movement that detaches sovereignty from Western legal meaning and instead uses the concept to pronounce Indigenous peoples’ right to assert their worldviews, to self-represent, to resist colonial interference and constructions, and to live, create, and pray as they see fit.viii
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