"A Post Indian World": The View from a Skateboard | NYABlog | New York Art Beat

More provocative than anything one might expect from the Smithsonian’s National Museum of the American Indian in Lower Manhattan, “Remix: New Modernities in a Post Indian World” slices together the work of 15 contemporary artists. These works range from photographs and oil paintings, to impressive mixed media installations like Untitled (the hunt/hunted) (2006-2007) by David Hannan, a chandelier of spinning transparent elk sculpted out of clear packing tape. The hanging mass of chained together deer casts patterns of shadow as it hovers delicately over the hardwood floor. Like many of the pieces in “Remix”, a show whose artists toy with the symbols and stereotypes of their American Indian heritages, it subverts any notion of the mystical.

The spiritual awe so associated with Native American cultures splinters here under the force of its artists’ modern commentary. As you walk into the exhibition area, Bernard Williams’ Charting America (2002 – present) overtakes an entire wall covered top to bottom with dozens of “tribal symbols” that appear to radiate themes of the sacred and ancestral, but on closer inspection it is in fact a satirical and derisive history of European corruption on the North American continent.

From confrontational jabs at American pop culture, to lighthearted glimpses of tribal life, “Remix” is loud and varied. Dustin Craigs’ 4-Wheel Warpony (2007), a skateboarding video of Apache teenagers, poignantly mashes music with visual snaps of young dreams from a place not often heard from in the mainstream. And painters like Luis Gutierrez and Hector Ruiz tread through frustrations with bright brushstrokes. Ruiz comes through with an aggressiveness similar to Basquiat, with bright color smudges and crude figures seemingly ripped from a bad dream or hallucination.

“Remix” is well worth checking out. It brings an eclectic, wry and vibrant energy to the excellent and too often overlooked National Museum of the American Indian.

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