Marcus Amerman @ Ahalenia Studios, Santa Fe

‘Freedom of Information:The FBI, Indian Country, and Surveillance’

The show will be open to the public from 1:00 – 6:00 pm on the following three weekends:  

  May 1, 2, 8, 9, 15, and 16. During the week, from May 2 to May 14, the show will be open by appointment, which can be arranged via ahalenia@gmail.com.

March 2010,  Staci Golar:

"Three poets and over 15 visual artists will explore the complex and often violent relationship between Native Americans and the Federal Bureau of Investigation in the art show, Freedom of Information The FBI, Indian Country, and Surveillance.

Indian Country has a much more intimate relationship with the Federal Bureau of Investigation than most of America. The Seven Major Crimes Act of 1885 gave the FBI jurisdiction over reservations when dealing with such major crimes as murder – and Indian Country certainly needs law enforcement. However, in the 1960s and 1970s, the FBI also famously launched COINTELPRO, a covert program to undermine activist organizations that the government deemed threatening, and particularly Native American rights organizations. Families, even loosely affiliated with activist organizations, were followed, monitored, and harassed. Ground zero for clashes between the FBI and Native peoples was Pine Ridge, South Dakota, from 1973 to 1975, when hundreds of murders have gone unsolved. [...]

This art show will explore the personal experiences of artists who have been incarcerated, threatened, attacked, or spied upon by the FBI, but also artists who have worked with the FBI as prosecutors and who have been helped by the FBI in investigations. Artists explore the effect of these experiences on their personal lives. We also examine how, due to technological advances, surveillance has become utterly ubiquitous and even accepted in today’s world. Now most photographs and videos are taken by machines, not human beings. What does this lack of privacy mean to us individually and collectively? How does it change our behavior? And where ultimately will it lead us?"


Golar, S. "Art and Activism collide."  Native Times.  March 22, 2010. http://www.nativetimes.com/index.php?option=com_content&view=article&id=3267:art-and-activism-collide&catid=47&Itemid=23


MORE on Marcus Amerman:  Marcus Amerman @ Tacoma's Museum of Glass

Preston Singletary and Marcus Amerman @ TMOG

2009 ABJ Seattle Glass Online:
Laura Grabhorn of The Evergreen State College asked questions of Preston Singletary, Marcus Amerman, and Joe Feddersen at a Tacoma Museum of Glass panel today.

Singletary is, of course, a bass player, Amerman is best known for his bead work, and Feddersen for his printmaking. The panel of three are all a part of the Native glass movement happening right now.
There are probably 8-10 native persons who both design and blow glass, Singletary said. It is growing due to the community it fosters when the glassblowing team comes together to make a piece of art. Each glass blower has their own particular skill, for example 'naturalistic' or 'sculptural.' This is a reflection of the native community itself. The Native glass movement is all due, according to Amerman, to Singletary. He taught him to 'incorporate your own culture's aesthetic to your own work.' Amerman called him a 'hero who revives traditions' who should be sent around the world doing the same for others!

Amerman and Singletary were the hot shop artists in residence today and they started a killer whale portrait of Singletary which took about one hour to blow. The piece went into the box as a couple of very clean black shapes put together hot. After it's cold, the piece will be taped with adhesive rubber, which is then cut with an X-acto knife to make the surface patterns, and finally will be sandblasted so that the inner color is revealed while the glass under the rubber tape stays a black outline.

Feddersen didn't work on the hot shop floor today, but he has been a visiting artist in the past. He first came to glass at the University of Wisconsin in the 80s. He has experimented with all types of media including computer graphics and basketweaving. The panelists were asked how they challenge views of Native art. Feddersen replied that he takes recognizable forms and overlays them with contemporary designs on his vessels. These designs are often signs that represent the land as it is today, including parking lots, housing developments and power lines.

Singletary came to glass through work at a factory. He was raised outside of his Tlingit culture and so he learned a lot about Tlingit art from books and other artists. Applying the art of his family to his glass blowing gave him purpose and his art meaning. The symbols and codes, he says, are protected and he feels his work is carrying those ancient codes into the future. Due to the medium, they may last 1,000 years from now. Amerman added that what they are doing is 'experiential archeology': They are discovering values and experiences of their ancestors by recreating Native art.

A woman in the audience questioned the panel about how they were able to be open to the opportunities they were given to make their art. This led to Amerman concluding, "I planned my life before I was born and I planned to meet Preston and Joe."