Calendar

In place of the Duwamish Annual Gala we are hosting an Online Native Art Auction. Bidding begins November 10th and concluded November 30th at 9pm.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Gallery Hours: Monday – Friday 12:00 PM – 6:00 PM

Opening reception: Friday, November 11th 6:00 PM – 7:30 PM

Artist Talk: Saturday, November 19th 5:00 PM – 6:30 PM

Artist and Curator Selena Kearney, in collaboration with the Paimārire Studio on the Native Art Campus of The Evergreen State College, presents Coast Salish wool weavers and their processes. Ceremonial Coast Salish weavings offer protection for the wearer and exist in both the spirit and human worlds. Weavers bring thoughts of care and devotion to the loom as they produce their works. This exhibition of Coast Salish weavings highlights the stories and kinship embedded in the art form focused on strengthening bonds and helping others.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Gallery Hours: Monday – Friday 12:00 PM – 6:00 PM

Opening reception: Friday, November 11th 6:00 PM – 7:30 PM

Artist Talk: Saturday, November 19th 5:00 PM – 6:30 PM

Artist and Curator Selena Kearney, in collaboration with the Paimārire Studio on the Native Art Campus of The Evergreen State College, presents Coast Salish wool weavers and their processes. Ceremonial Coast Salish weavings offer protection for the wearer and exist in both the spirit and human worlds. Weavers bring thoughts of care and devotion to the loom as they produce their works. This exhibition of Coast Salish weavings highlights the stories and kinship embedded in the art form focused on strengthening bonds and helping others.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Gallery Hours: Monday – Friday 12:00 PM – 6:00 PM

Opening reception: Friday, November 11th 6:00 PM – 7:30 PM

Artist Talk: Saturday, November 19th 5:00 PM – 6:30 PM

Artist and Curator Selena Kearney, in collaboration with the Paimārire Studio on the Native Art Campus of The Evergreen State College, presents Coast Salish wool weavers and their processes. Ceremonial Coast Salish weavings offer protection for the wearer and exist in both the spirit and human worlds. Weavers bring thoughts of care and devotion to the loom as they produce their works. This exhibition of Coast Salish weavings highlights the stories and kinship embedded in the art form focused on strengthening bonds and helping others.

In celebration of the Association on American Indian Affairs’ 100th anniversary (1922-2022), the Association is honored to announce the first annual Tribal Museums Day to be held on Saturday, December 3, 2022. We are engaging Tribal Museums and Cultural Centers across Indian Country to share our collective wisdom, values and diverse cultures!
The Association’s vision is to create a world where diverse Native cultures and values are lived, protected and respected. Tribal Museums Day will bring attention to our diverse Nations and cultures, stimulate tourism, and grow Tribal economies. Tribal Museums Day will also support the vision and mission of each Tribal Museum by re-educating the public that our Nations are the primary experts of Indigenous histories, knowledge, cultures, lifeways and values.
Check out a Tribal Museum or Cultural Center near you and you may enjoy:
​
FREE Admission
Special Exhibits
Gift Shop Discounts (consider holiday gift giving!)
Art Markets
Live Cultural Demonstrations

Live Event
As part of our 100-year anniversary, the Association will also host a live streaming event on Saturday, December 3, 2022 on social media from multiple Tribal Museums to celebrate Tribal Museums Day. The live streaming event will be emceed by Shannon Martin, Match-E-Be-Nash-She-Wish Band of Pottawatomi Indians, an include other interesting wisdom keepers from Indian Country.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Looking for some Native bling for the holidays? Visit our Winter Native Made Winter Marketplace each weekend through the month of December at the future site of our retail shop, right in the heart of Cully! Support Native artists and find the perfect gift for everyone in your life! There will be live music, refreshment

“Winter was the Elder’s time” says Darren Parry. A time for stories & wisdom, passed down from one generation to another. In our inaugural series “Curious Conversations”, we are pleased to welcome one such Elder as he shares a Winter story of Shoshone culture, tragedy, and hope. Weather dependent we will be having a poolside conversation in our gathering pool or a fireside chat in our Forest Yurt for what promises to be a healing, curious, conversation.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Gallery Hours: Monday – Friday 12:00 PM – 6:00 PM

Opening reception: Friday, November 11th 6:00 PM – 7:30 PM

Artist Talk: Saturday, November 19th 5:00 PM – 6:30 PM

Artist and Curator Selena Kearney, in collaboration with the Paimārire Studio on the Native Art Campus of The Evergreen State College, presents Coast Salish wool weavers and their processes. Ceremonial Coast Salish weavings offer protection for the wearer and exist in both the spirit and human worlds. Weavers bring thoughts of care and devotion to the loom as they produce their works. This exhibition of Coast Salish weavings highlights the stories and kinship embedded in the art form focused on strengthening bonds and helping others.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Looking for some Native bling for the holidays? Visit our Winter Native Made Winter Marketplace each weekend through the month of December at the future site of our retail shop, right in the heart of Cully! Support Native artists and find the perfect gift for everyone in your life! There will be live music, refreshment

Come join staff from the Cowlitz Tribe Natural Resources Department and Cowlitz Garden to plant camas bulbs for a second year as part of the Gospodor property restoration project.
We will be planting common camas (Camassia quamash) bulbs and learning about camas.
Lunch, snacks, and warm drinks will be provided in collaboration with the Senior Nutrition Program.
All ages are welcome!
Due to limited parking on-site, we will have transit vehicles making trips back and forth between the site and the Park & Ride located nearby starting around 11:00AM.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Gallery Hours: Monday – Friday 12:00 PM – 6:00 PM

Opening reception: Friday, November 11th 6:00 PM – 7:30 PM

Artist Talk: Saturday, November 19th 5:00 PM – 6:30 PM

Artist and Curator Selena Kearney, in collaboration with the Paimārire Studio on the Native Art Campus of The Evergreen State College, presents Coast Salish wool weavers and their processes. Ceremonial Coast Salish weavings offer protection for the wearer and exist in both the spirit and human worlds. Weavers bring thoughts of care and devotion to the loom as they produce their works. This exhibition of Coast Salish weavings highlights the stories and kinship embedded in the art form focused on strengthening bonds and helping others.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Gallery Hours: Monday – Friday 12:00 PM – 6:00 PM

Opening reception: Friday, November 11th 6:00 PM – 7:30 PM

Artist Talk: Saturday, November 19th 5:00 PM – 6:30 PM

Artist and Curator Selena Kearney, in collaboration with the Paimārire Studio on the Native Art Campus of The Evergreen State College, presents Coast Salish wool weavers and their processes. Ceremonial Coast Salish weavings offer protection for the wearer and exist in both the spirit and human worlds. Weavers bring thoughts of care and devotion to the loom as they produce their works. This exhibition of Coast Salish weavings highlights the stories and kinship embedded in the art form focused on strengthening bonds and helping others.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Gallery Hours: Monday – Friday 12:00 PM – 6:00 PM

Opening reception: Friday, November 11th 6:00 PM – 7:30 PM

Artist Talk: Saturday, November 19th 5:00 PM – 6:30 PM

Artist and Curator Selena Kearney, in collaboration with the Paimārire Studio on the Native Art Campus of The Evergreen State College, presents Coast Salish wool weavers and their processes. Ceremonial Coast Salish weavings offer protection for the wearer and exist in both the spirit and human worlds. Weavers bring thoughts of care and devotion to the loom as they produce their works. This exhibition of Coast Salish weavings highlights the stories and kinship embedded in the art form focused on strengthening bonds and helping others.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Gallery Hours: Monday – Friday 12:00 PM – 6:00 PM

Opening reception: Friday, November 11th 6:00 PM – 7:30 PM

Artist Talk: Saturday, November 19th 5:00 PM – 6:30 PM

Artist and Curator Selena Kearney, in collaboration with the Paimārire Studio on the Native Art Campus of The Evergreen State College, presents Coast Salish wool weavers and their processes. Ceremonial Coast Salish weavings offer protection for the wearer and exist in both the spirit and human worlds. Weavers bring thoughts of care and devotion to the loom as they produce their works. This exhibition of Coast Salish weavings highlights the stories and kinship embedded in the art form focused on strengthening bonds and helping others.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Gallery Hours: Monday – Friday 12:00 PM – 6:00 PM

Opening reception: Friday, November 11th 6:00 PM – 7:30 PM

Artist Talk: Saturday, November 19th 5:00 PM – 6:30 PM

Artist and Curator Selena Kearney, in collaboration with the Paimārire Studio on the Native Art Campus of The Evergreen State College, presents Coast Salish wool weavers and their processes. Ceremonial Coast Salish weavings offer protection for the wearer and exist in both the spirit and human worlds. Weavers bring thoughts of care and devotion to the loom as they produce their works. This exhibition of Coast Salish weavings highlights the stories and kinship embedded in the art form focused on strengthening bonds and helping others.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Gallery Hours: Monday – Friday 12:00 PM – 6:00 PM

Opening reception: Friday, November 11th 6:00 PM – 7:30 PM

Artist Talk: Saturday, November 19th 5:00 PM – 6:30 PM

Artist and Curator Selena Kearney, in collaboration with the Paimārire Studio on the Native Art Campus of The Evergreen State College, presents Coast Salish wool weavers and their processes. Ceremonial Coast Salish weavings offer protection for the wearer and exist in both the spirit and human worlds. Weavers bring thoughts of care and devotion to the loom as they produce their works. This exhibition of Coast Salish weavings highlights the stories and kinship embedded in the art form focused on strengthening bonds and helping others.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

We are excited once again to offer our handmade goods for our 2 day holiday market from 11-4 on December 10th & 11th at ALMA Tacoma. We will have a diverse variety of items perfect for your holiday shopping.

Visit our Winter Native Made Winter Marketplace each weekend through the month of December at the future site of our retail shop, right in the heart of Cully! Support Native artists and find the perfect gift for everyone in your life! There will be live music, refreshments and food in the surrounding Cully neighborhood!

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

We are excited once again to offer our handmade goods for our 2 day holiday market from 11-4 on December 10th & 11th at ALMA Tacoma. We will have a diverse variety of items perfect for your holiday shopping.

Visit our Winter Native Made Winter Marketplace each weekend through the month of December at the future site of our retail shop, right in the heart of Cully! Support Native artists and find the perfect gift for everyone in your life! There will be live music, refreshments and food in the surrounding Cully neighborhood!

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Save the date for the annual holiday party for our United Indians of All Tribes families!

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Free admission. Local vendors. Handmade gifts.

Indigenous artists will be selling and showcasing handmade authentic arts and crafts. Beautiful work such as clothing, jewelry, woodworking, drums, art prints, and more by Native American Artists with many styles and tribes represented will be at Daybreak Star. This is a free event open to the public

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Visit our Winter Native Made Winter Marketplace each weekend through the month of December at the future site of our retail shop, right in the heart of Cully! Support Native artists and find the perfect gift for everyone in your life! There will be live music, refreshments and food in the surrounding Cully neighborhood!

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Free admission. Local vendors. Handmade gifts.

Indigenous artists will be selling and showcasing handmade authentic arts and crafts. Beautiful work such as clothing, jewelry, woodworking, drums, art prints, and more by Native American Artists with many styles and tribes represented will be at Daybreak Star. This is a free event open to the public

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Visit our Winter Native Made Winter Marketplace each weekend through the month of December at the future site of our retail shop, right in the heart of Cully! Support Native artists and find the perfect gift for everyone in your life! There will be live music, refreshments and food in the surrounding Cully neighborhood!

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Free Dinner Provided For Everyone! Thank you to Evergreen, Healthier Here, and the Na’ah Illahee Fund for this event series!

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

An immersive, site-responsive installation by multimedia artist Jeffrey Gibson, They Come From Fire will transform the exterior windows on the facade of the museum’s main building as well as its two-story interior Schnitzer Sculpture Court. This dynamic work will celebrate Portland’s Indigenous history, presence and vitality through the use of suspended glass panels, text, and photographic imagery created with Indigenous, BIPOC, LGBTQ+ artists, and other community members on and around the empty monument pedestals in the Park blocks in front of the museum. Coinciding with a survey of Dakota modernist Oscar Howe, the installation will serve as a bridge between the museum’s contemporary and Native American art collections.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Community, empowerment, and visibility are at the heart of the ongoing performance work To Name An Other, by multimedia artist Jeffrey Gibson (b. 1972), who is a member of the Mississippi Band of Choctaw Indians and of Cherokee descent. The fifty pairs of matching tunics and drums in this large-scale installation are emblazoned with phrases that challenge the limiting ways we identify and interface with expectations surrounding race and gender. A video of past performances is also included in the gallery.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.

Dakota Modern: The Art of Oscar Howe introduces new generations to one of the twentieth century’s most innovative Native American painters. Howe (1915–1983) committed his artistic career to the preservation, relevance, and ongoing expression of his Yanktonai Dakota culture. He proved that art could be simultaneously modern and embedded in customary Očhéthi Šakówiŋ (Sioux) culture and aesthetics—to him there was no contradiction.Howe challenged the art establishment’s preconceptions and definitions of Native American painting. In doing so, he catalyzed a movement among Native artists to express their individuality rather than conforming to an established style. This legacy of innovation and advocacy continues to inspire generations of Native artists to take pride in their heritage and resist stereotypes.

Dakota Modern traces more than forty years of the artist’s career and development from early conventional work created while in high school in the 1930s through the emergence in the 1950s and 1960s of his innovative and abstract approach to painting.

Body Language: Reawakening Cultural Tattooing of the Northwest takes a closer look at the rich history and artistry of Indigenous tattooing of the Northwest coast. Photographs, cultural belongings, and contemporary art reveal how these previously disrupted and banned traditions have endured through the efforts of the Indigenous artists featured in this exhibition. Experience their stories and celebrate the resilience of Indigenous tattoo practitioners and those who wear the visual language of their ancestors on their bodies. Must be a member or donor to attened.