Jaune Quick-To-See Smith, University of Arizona Museum of Art.
Jaune Quick–to–See Smith (born 1940) is a Native American contemporary artist. Her work is held in the collections of the National Museum of Women in the Arts, the Smithsonian American Art Museum, the Whitney Museum of American Art, the Hood Museum of Art, and the Museum of Modern Art in New York City.
Biography
Born January 15, 1940 in St. Ignatius, a small town on the Flathead Reservation on the Confederated Salish and Kootenai Indian Reservation, Montana, Jaune Quick–to–See Smith is an internationally renowned painter, printmaker and artist. Her first name comes from the French word for "yellow" (jaune), from her French-Cree ancestry. Her middle name "Quick-to-See" was given by her Shoshone grandmother as a sign of her ability to grasp things readily.
She earned a BA in Art Education from Framingham State College, Massachusetts, and an MA in Art from the University of New Mexico. She received an Associate of Arts Degree at Olympic College in Bremerton Washington in 1960. She attended the University of Washington, received her BA in Art Education at Framingham State College in 1976 and a masters degree in art at the University of New Mexico in 1980. Smith has been awarded four honorary doctorates from Minneapolis College of Art and Design, Pennsylvania Academy of the Arts, Massachusetts College of Art and the University of New Mexico. In 2015 she received an honorary degree in Native American Studies from Salish Kootanai College, Pablo, MT.
Smith has been creating complicated abstract paintings and lithographs since the 1970s. She employs a wide variety of media, working in painting, printmaking and richly textured mixed media pieces. Such images and collage elements as commercial slogans, sign-like petroglyphs, rough drawing, and the inclusion and layering of text are unusually intersected into a complex vision created out of the artist’s personal experience. Her works contain strong, insistent socio-political commentary that speaks to past and present cultural appropriation and abuse, while identifying the continued significance of the Native American peoples. She addresses today’s tribal politics, human rights and environmental issues with humor. Smith is known internationally for her philosophically centered work regarding her strong traditional beliefs and political activism.
A guest lecturer at over 185 universities, museums and conferences around the world, Smith has also shown her work in over 100 solo exhibitions. Her work has been reviewed by The New York Times, ArtNews, Art In America, Art Forum, The New Art Examiner and many other notable publications. She also organizes and curates numerous Native American exhibitions and serves as an activist and spokesperson for contemporary Native art. She is included in many private and public international collections, including The Whitney Museum of American Art, The Museum of Mankind, Vienna, Austria; The Museum of Modern Art, Quito, Ecuador; the Smithsonian American Art Museum, the National Museum of Women in the Arts, and The Museum of Modern Art, NY. Smith’s work is included in many important museum collections: Museum of Modern Art, NY, NY; Whitney Museum of American Art, NY, NY; Metropolitan Museum of Art, NY, NY; Brooklyn Museum, NY; Smithsonian Museum of American Art, Washington, DC; the Walker Art Center, Minneapolis, MN; New Mexico Museum of Art, Santa Fe; Albuquerque Museum; Victoria and Albert Museum, London; Museum for World Cultures, Frankfurt, Germany and Museum for Ethnology, Berlin.
Among other honors, she has received the Joan Mitchell Foundation Painters Grant, a Lifetime Achievement Award from the Women's Caucus for the Arts, the College Art Association’s Committee on Women in the Arts Award, the 2005 New Mexico Governor’s Outstanding New Mexico Woman’s Award, and the 2005 New Mexico Governor’s Award for Excellence in the Arts (Allan Houser Award). Smith also has been admitted to the New Mexico Women’s Hall of Fame.
Her collaborative public artworks include the terrazzo floor design in the Great Hall of the Denver Airport; an in-situ sculpture piece in Yerba Buena Gardens, San Francisco; and a mile-long sidewalk history trail in West Seattle.
Recent awards include a grant from the Joan Mitchell Foundation to archive her work; the 2011 Art Table Artist Award; Moore College of Art & Design, PA, Visionary Woman Award for 2011; Induction into the National Academy of Art 2011; Living Artist of Distinction, Georgia O'Keeffe Museum, NM, 2012; the Switzer Distinguished Artist Award for 2012, and the Woodson Foundation, Lifetime Achievement Award in 2014. Smith also holds honorary doctorates from the Pennsylvania Academy of the Arts, the Minneapolis College of Art and Design, Massachusetts College of Art and Design and the University of New Mexico. In 2015 she received an honorary degree in Native American Studies from Salish Kootanai College, Pablo, MT.
Recent solo exhibitions include: 2015: "Art After the Drought" at the Museum of Texas Tech University in Lubbock, TX; 2014: "Water and War" at the Bernstein Gallery in The Woodrow Wilson School of Princeton University; "Artists and Arts Workers" in the Robert E. Elberson Fine Arts Center at Salem College, and an exhibit at the Maudeville Art Gallery at Union College in Schenectady, NY. 2013: "Water and War" at the Accola Griefen Gallery in New York City.
Personal
Smith's son, Neal Ambrose-Smith, is a contemporary painter, printmaker and sculptor.
Works
The Rancher, 2002, acrylic on canvas,183.5 cm × 122.2 cm (72.2 in × 48.1 in), Hood Museum of Art
NDN (for life)," 2000, Mixed Media on canvas, 72 x 48 inches. The Rockwell Museum.
Sticky Mouth, 1998, lithograph, 21.457 x 18.898 in. Missoula Art Museum, MT.
Flathead Vest: Father and Child, 1996, collage/acrylic on canvas, 60.039 x 49.83 in. Missoula Art Museum, MT.
Celebrate 40,000 Years of American Art, 1995, collagraph, 71.38 x 47.40in., Whitney Museum, New York.
Coyote Made Me Do It!, 1993, monotype on paper, 41 1/2 x 29 1/2 in. Smith College, MA.
Indian Handprint, 1993, monotype on paper, 20.984 x 17.953 in. Missoula, MT.
Rain II, 1993, monotype on paper, 41 1/2 x 29 1/2 in.
I See Red (snowman), 1992, oil and mixed media collage on canvas, 66 x 50 in.
The Red Mean: Self-Portrait, 1992, acrylic, newspaper collage, shellac, and mixed media on canvas, 90 x 60 in. Smith College of Art, MA.
Trade (Gifts for Trading Land with White People), 1992, oil, mixed media, collage on canvas, objects, 152.4 x 431.8 cm. Chrysler Museum, VA.
Ode to Chief Seattle (State II), 1991, lithograph, 22 x 30 in.
Paper Dolls for a Post Columbian World with Ensembles Contributed by US Government, 1991-1992, watercolor, pen, and pencil on photocopy paper, each measuring 17 x 11 in. New Mexico Museum of Art, NM.
Peyote, 1991, pastel and pencil on paper, 30 x 42 in. Georgia O'Keeffe Museum, NM.
Prince William Sound, 1991, collage, mixed media on paper, 22 x 30 in.
Rain, 1991, oil and wax on canvas with silver spoons, 80 x 30 in. Heard Museum, AZ.
Gifts of Red Cloth, Montana Memories series, 1989, oil and wax on canvas, 72 x 72 in.
Starry Night, 1989, oil on canvas, 72 x 72 in. Destroyed by artist.
Sunlit, 1989, oil on canvas, 72 x 72 in.
Salish Spring, Montana Memories series, 1988–89, oil and wax on canvas, 60.25 x 50 in. Missoula Art Museum, MT.
The Spaniard, Montana Memories series, 1988–89, oil and wax on canvas, 60 x 42 in.
Escarpment, 1987, oil on canvas, 66 x 48 in.
The Court House Steps, 1987, oil on canvas, 72 x 60 in. Albuquerque Museum of Art and History, NM.
The Great Divide, 1987, oil on canvas, 72 x 60 in. Saint Paul Travelers, MN.
Sunset on the Escarpment, 1987, oil on canvas, 72 x 60 in. Dorothee Peiper-Riegraf, Berlin, Germany.
War Zone, 1987, oil on canvas, 72 x 60 in.
Georgia on My Mind, 1986, oil on canvas, 64 x 48 in. Yellowstone Art Museum, MT.
Herding, 1985, oil on canvas, 66 x 84 in. Albuquerque Museum of Art and History, NM.
Untitled, Wallowa Waterhole series, 1978, pastel on paper, 30 x 22 in.
Rain Dance, ink drawing, 12 x 12 in.*
IX
Kin 254: White Resonant Wizard
I channel in order to enchant
Inspiring receptivity
I seal the output of timelessness
With the resonant tone of attunement
I am guided by the power of death.
When the form is exerted perfectly inside and outside while the mind is still, then everything is in the present time.*
*Star Traveler's 13 Moon Almanac of Synchronicity, Galactic Research Institute, Law of Time Press, Ashland, Oregon, 2017-2018.
The Sacred Tzolk'in
Sahasrara Chakra (Dali Plasma)
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