Nicholas Galanin Yéil Ya-Tseen | |
|---|---|
.jpg) Nicholas Galanin in May 2011 | |
| Background information | |
| Also known as | Silver Jackson |
| Born | 1979 (age 46–47) Sitka, Alaska, U.S. |
| Origin | Sitka, Alaska, U.S. |
| Genres | Electronic |
| Years active | 2006–present |
| Labels |
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| Website | http://galan.in/ |
Nicholas Galanin (born 1979) is aSitka Tribe of Alaska multi-disciplinary artist and musician ofTlingit andUnangax̂ descent.[2][3] His work often explores a dialogue of change and identity between Native and non-Native communities.
Nicholas Galanin was born inSitka, Alaska, in 1979. As a young boy, he learned to work with jewelry and metals from his father and uncle. He is also the grandchild of master carver George Benson.[4] At the age of eighteen, Galanin worked a desk job at theSitka National Historical Park. When he was discovered drawing Tlingit art, on a slow day at the park, he was informed that he was only allowed to read Russian history books during working hours. So, he quit his job to pursue art. He recalls this as his last job that was non-creative.[5]
In 2003, AtLondon Guildhall University in England, he studied silversmithing and received a Bachelors of Fine Arts with honors in Jewelry Design & Silversmithing.[6][7] In 2007, he received a Masters of Fine Arts in indigenous visual arts atMassey University in New Zealand.[8][7] Galanin has also done apprenticeships with master carvers and jewelers.[7]
His first exhibition, in 2004, was entitledTotems to Turquoise, and was hosted at theMuseum of Natural History in New York City.[9]
In 2006, he created a book sculpture series, entitledWhat Have We Become? which incorporated blank pages and pages from 19th century anthropological books, which he "carved into, hand cut and laser engraved".[10]
In 2008, Galanin's work was featured in "Beat Nation: Art, Hip Hop and Aboriginal Culture" exhibition atThe Power Plant Contemporary Art Gallery. It was co-curated byKathleen Ritter andTania Willard, and featured the work of twenty-threeaboriginal artists.
Galanin's entry, entitledTsu Heidei Shugaxtutaan, is a two-part looping video of dance and music that mixes elements of traditional Tlingit and hip hop. In the first video,David "Elsewhere" Bernal ispopping to a customary Tlingit song. In the second,Dan Littlefield appears in customary Tlingit regalia and dances to electronic music. The Tlingit song contains the words used in the title of the piece,Tsu Heidei Shugaxtutaan, which is pronounced "soo HAYdee shoe GAK tu tahn" and means "We Will Again Open This Container of Wisdom That Has Been Left in Our Care".[11] In 2012, this work was featured in "Shapeshifting: Transformations in Native American Art", an exhibit hosted by thePeabody Essex Museum ofSalem, Massachusetts.[12][13]
In 2009,S’igeika’awu: Ghost was displayed in a new wing of theAnchorage Museum. This work was described as "resembling both a Native mask and a piece ofDelftware." The fusion of this work reminds viewers of the period when ceremonial Native masks were considered worthless, but fineporcelain was a valuable commodity.[14]
Things are Looking Native, Native’s Looking Whiter was the centerpiece of "Unsettled", an exhibit hosted by theNevada Museum of Art.[15] It is a photographicgiclée[16] montage print that bisects and combines two photographs. On the left is a 1906 Edward S. Curtis image entitled "Tewa Girl", a photograph of an unnamedHopi-Tewa girl with a traditional "squash blossom" hairstyle. The right half of the photo-montage depictsCarrie Fisher asPrincess Leia from the 1977 filmStar Wars Episode IV: A New Hope with her classic"cinnamon roll"[broken anchor] hair style.[17] Galanin's work is intended as a "commentary oncultural appropriation in popular media", which is largely dominated by white actors and directors.[17][18]
Edward S. Curtis was an ethnographer, who sought to photograph and record, onwax cylinders, and in written notes, "the mode of life of one of the great races of mankind, [which] must be collected at once or the opportunity will be lost." The records that he made, over a twenty-year period, [1906-1926] is, in most cases, the only photographic, recorded or written history of the Indigenous people of over eighty tribes.[19]
Despite Curtis's two decades of dedicated and underpaid work,[20] Galanin, in an interview with theReno Gazette-Journal, argues that Curtis’ 40,000 photos of 80 Indigenous tribes were "stereotyping and romanticizing the Indigenous people". He continued: "When you choose, cherry pick, to devalue the artisans of a community, but then decide that it has value or use to you, you've removed context from the creators of it. That echoes the history that we're talking about. It's not a business deal; we're not open to business. It's thievery, really."[21]
Although Galanin was uncertain if theStar Wars character's likeness to the Hopi-Tewa woman was deliberate or unintentional, he felt that "the influence was implied".[21] This particular hairstyle was also popular inMedieval Europe, centuries prior to the "discovery " of the Americas.[22] "I challenge those who view or listen to my work to consider that Indigenous people are not contained by colonial mechanisms designed to erase our existence through continually narrowing categories of Indian-ness".[23][24]
In 2013, Galanin's artwork was featured at theAlaska State Museum.[25]
In 2015, Galanin designed a logo for Tribal Sports, a brand created by the Sitka Tribe of Alaska and Baden Sports of Seattle. The logo was intended appear on Alaskan school basketballs and baseballs.[26]
In 2016,You Are on Indisneyian Land was displayed at the "Race and Revolution" exhibition at Nolan Park on Governors Island.[27] The same year,Kill the Indian, Save the Man was shown at the Anchorage Museum.[28][29][30]
In 2017, his work was displayed at the Venice Biennale's Native American Pavilion.[7] He was the lead carver of atotem pole that was erected in Savikko Park on Douglas Island.[31][32][33][5]
A retrospective of Galanin's works called "Dear Listener: Works by Nicholas Galanin" was held at theHeard Museum in Phoenix, Arizona,[5] in the fall of 2018.[34] The 12,000 square-foot exhibition, displaying fifteen years of Galanin's works, was the largest contemporary arts exhibition to be shown at the Heard Museum in over a decade. One of Galanin's collaborators, Nep Sidhu, helped mount the exhibition.[34] The opening event featured music by Galanin's bandIndian Agent, along with the band Shabazz Palaces.[34][5]
The exhibition showed over fifty works[5] by Galanin, including many of his well-known pieces such asWe Dreamt Deaf,White Noise American Prayer Rug, andThings Are Looking Native, Native's Looking Whiter. Nicholas Galanin collaborated with his brother, Jerrod Galanin, (credited as Leonard Getinthecar) onA Supple Plunder. This work consists of nine ballistic gel torsos, and is a memorial to the twelveUnangan men who were lined up and shot by Russian settlers to see how many men a bullet could travel through and kill.[35][16]
God Complex is a "crucifix" made of porcelain police riot gear, and provides commentary on the role of the police and religion in the process of cultural supremacy and cultural genocide.[5][16]The American Dream is Alie and Well, presents an American flag, which is shaped like a bear hide. With bullets for claws and gold teeth in its mouth, it was one of many pieces that contrasted the native and non-native perspective on the American dream.[16]
Another work entitledIndian Children's Bracelet is a hand-engraved set of child-sized handcuffs that represent the Indigenous children who were forced into American boarding schools, which were intended to assimilate them into European culture.[5][16] The piece is one of three pairs that will never be displayed together, as a symbolic way of demonstrating how Indigenous families were torn apart and separated by the American boarding school system. The other two pairs are in the permanent collections of the Alaska State Museum and the Portland Museum.[5]
Galanin's silver jewelry, some of which was worn byErykah Badu, was on display at the museum.[5] At the opening, Galanin felt overwhelmed by questions from the non-Indigenous docents. The Indigenous attendees praised the exhibition because they felt it was empowering.[5]
In 2019, Galanin'sThe Value of Sharpness: When It Falls was displayed at theOpen Source Gallery in New York.[36] His work,We Dreamt Deaf was displayed at the Macalester College's Law Warschaw Gallery.[37] It features a taxidermied polar bear from Shishmaref whose hindquarters not stuffed.[5] This work is a criticism of hunting for sport and trophy hunting[16] as well as a statement on how climate change constitutes violent act against animals, like the polar bear, who appears to be melting due to global warming.[5] In 2019, Galanin's work was displayed at theHonolulu Biennial.[7]
ThePeter Blum Gallery in New York City[7] displayed two monotype series created by Nicholas Galanin for theInternational Fine Print Dealers Association's (IFPDA) 2020 Fall selection of theFine Art Print Fair.[38] The artworks presented in the two series were made through the process ofprintmaking.[39]
The 2018 monotype series,Everything We’ve Ever Been, Everything We Are Right Now, previously shown at the 2019 Twin Cities Zine Fest,[40] consisted of seven pieces and is "a reference to an ancestral entrance dance where the face is revealed, not masked".[41] A series entitledLet them Enter Dancing and Showing Their Faces is collected in a monograph.[5] Galanin's work shows that Tlingit art is not stagnant or dying, but continues to change and progress.[41]
Also, in 2018, Galanin mounted a solo exhibit at Peter Blum Gallery,Carry a Song / Disrupt an Anthem, which featuring six major works, which explore how Indigenous identity is subverted by American culture.[7][42] The message was most clearly conveyed byWhite Noise, American Prayer Rug andThe Imaginary Indian (Totem Pole), which provided commentary on the distractions of American culture[16] and a critique of assimilation.[7] Similarly, two of Galanin's works,Architecture of return, escape andLand Swipe attempt to explore how Indigenous cultural items have been forcefully removed from Indigenous communities and confined to museums.[42]
ARTnews Magazine announced the lineup of ninety-eight artists for the22nd Biennale of Sydney (Australia) in 2020 and mentioned Nicholas Galanin as one of the prominent artists.[43] TheBiennale of Sydney was curated byWiradjuri memberBrook Andrew, who chose the word "NIRIN" as the title of the event, which is the Wiradjuri word for "edge". The exhibit focuses on "unresolved past anxieties and hidden layers of the supernatural," and presents the work of the Indigenous and diaspora communities that are not normally at the center of the art world.[43]
Here, Galanin presentedShadow on the land, an excavation and bush burial, which was a grave in the shape ofthe statue of Captain James Cook's shadow inHyde Park.[44] Galanin commented on the piece saying, "By creating a hole large enough to bury the statue, the work’s excavation (along with its title) suggests the burial of the Cook monument itself, along with the burial of destructive governance and treatment of Indigenous land, Indigenous people and Indigenous knowledge".[45]
The year 2020 was the 250th anniversary of CaptainJames Cook's colonization of the already inhabited continent of Australia.[45] Galanin advocates for the removal of statues which venerate colonial settlers, because he believes they represent a white supremacist and violent ideology. However, he believes that removing statues of colonialists and changing mascots from caricatures of Indigenous people is not enough, and this should be followed by economic justice.[45] The call to remove the James Cook statue in Sydney is part of an ongoing movement to remove James Cook statues in Hawaii and Anchorage.[46][47] The movement to remove statues related to colonization, has also been compared to Black Lives Matter protesters calling for the removal of statues of slave-owners and confederate soldiers.[46] Galanin was briefly interviewed by Casey Grove ofAlaska Public Media concerning the importance of art and its inspiration.[48]
There has been a larger movement, specifically in Alaska, that has called for the removal of statues of colonial figures such asCaptain Cook,William Seward, andAlexander Baranov.[47] Galanin was involved in the removal of the statue of Alexander Baranov in Anchorage. According to Galanin, Baranov "is responsible for murder, enslavement, rape and [is] a perpetrator of genocide".[49] An opinion piece by Georgy Manaev criticized the movement to remove the statue, citing an overzealouscancel culture as the movement's motivation. Manaev stated that Baranov "wasn’t the first to start the conflict between the Russians and the native Alaskan tribes", which led him to believe that Baranov's statue shouldn't be the targeted for removal.[50]
Nicholas Galanin began his solo project under the stage name Silver Jackson, and is part of a collective calledThe Black Constellation.
He started his own record label and a music festival calledHome Skillet Festival.[51] He released his first extended play,Moves Like Music in 2007. He released his debut album, which was self-titled, in 2008. In 2009, he released his sophomore albumThought I Found Gold. In 2011, Silver Jackson released a single, "Wild Woman" and in 2012, an album entitledIt's Glimmering Now. In 2014, Silver Jackson released two promotional singles; "Perfect Mistake"[52] and "You and I Should Try Again" followed by the studio album,Starry Skies Open Eyes.[53][54] In 2016, he released a single entitled "Impetus Epoch".
Silver Jackson's music was featured on an Indigenous Futurism Mixtape.[55] Silver Jackson produced the music for the documentary,Lineage: Tlingit Art Across Generations.[4]
In 2017, Galanin formed a band with Otis Calvin III and Zak Dylan Wass called Indian Agent. The group released the promotional single entitled "Life Keeps On Spinning"[56] from their debut album,Meditations in The Key of Red which was also released in 2017.[57] In 2018, the group released the two-track single entitled "All I Sea".
Galanin speaks on issues ofcolonialism andenvironmentalism.[58] Galanin spoke at theUniversity of North Dakota Writers Conference in 2018.[59]
In 2019, Galanin was one of the 75 artists that were selected to present work in the 79thWhitney Museum of American Art Biennial.[60][61] Selection by Whitney denotes an artist who is at the "forefront of American contemporary art" and provides them with valuable market exposure and important recognition.[61]
On July 19, 2019, Galanin and three other artists sent a letter to Whitney, asking that their work to be withdrawn from the exhibition.[62] They protested against the presence of the Whitney Board of Trustees vice chairWarren Kanders, who owns the tear-gas producing companySafariland. A day later, they were joined by four additional artists, who also wished to withdraw their artwork. Others joined the protest. Kanders resigned, and the artists decided to allow their work to be exhibited.[63][64][65][66]White Noise, American Prayer Rug,[67] andLet Them Enter Dancing and Showing Their Faces — Shaman, were submitted by Galanin.[64]
In September 2019, Galanin spoke of his intention to withdraw from the exhibition and his ultimate decision to participate. "For me, the reason for both decisions was to fight erasure." In reference to museums, where "our ancestors’ bones" have been held in storage, museums have not been safe spaces for Indigenous people or culture. He says, "But in order to have agency in such spaces, you have to show up. It’s more impactful to engage in conversation than to avoid it."[63]
Nicholas Galanin has three children.[5]
| Year | Title | Role | Notes |
|---|---|---|---|
| 2016 | Envoy[78][79] | Producer | |
| 2020 | Wé tlʼátk áwé át sa.áx̱ - Listen to the land | Writer, Director |
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