Subversively Elegant Portraits of Indigenous People Drawn on Repurposed Ledgers by Artist Chris Pappan

“Axiom” (2016), mixed media on ledger, 16 x 16 inches. All images © Chris Pappan, shared with permission In his mixed-media portraits, Chicago-based artist Chris Pappan draws on the tradition of ledger art, a practice that flourished among Native populations throughout the Great Plains from around 1850 to 1920. Rooted […]

“Axiom” (2016), mixed media on ledger, 16 x 16 inches. All images © Chris Pappan, shared with permission

In his mixed-media portraits, Chicago-based artist Chris Pappan draws on the tradition of ledger art, a practice that flourished among Native populations throughout the Great Plains from around 1850 to 1920. Rooted in narratives, the renderings depicted the ways of life of Indigenous people and the nuances otherwise left out of mainstream conversations. “The mid-19th Century was a tumultuous time for the Indigenous peoples of America; the doctrine of Manifest Destiny brought deep pain and suffering but it also introduced new modes of expression,” says Pappan, who is part of the Osage Nation and of Osage, Kaw, Cheyenne River Sioux, and mixed European heritage.

Using graphite, colored pencils, ink, and water-based media, the artist illustrates black-and-white portraits on a variety of intentionally sourced materials, like municipal ledgers and mining certificates. One artwork (shown below) features five mirrored figures imprinted on Boy Scouts of America neckerchiefs that offer commentary on the destructive practices of the youth organization by recreating appropriated imagery. A similar piece, “Of White Bread and Miracles,” evokes the illustrations in the manual Here Is Your Hobby: Indian Dancing and Costumes, which the group often used to teach its members. “The book is an example of cognitive dissonance as it erases any vestiges of contemporary Native people and homogenizes all Native American cultures while making casual remarks such as ‘…get a local Indian to teach you singing and dancing if you can…,’” Pappan writes.

 

“Welcoming the New Dawn” (2018), mixed media on Evanston municipal ledger, 18 x 36 inches

Despite invoking historical references, the artist imbues his figurative renderings with visions for the future. The lowbrow movement—particularly the melding of technical ability with taboo subject matter—influenced much of his earlier work. More recent projects have honed in on issues of systemic racism and appropriation of sacred objects, which Pappan hopes inspires viewers to question their own complicity. “I’ve always felt it important to understand boundaries (or rules) so that one can break them and then be able to redefine culture in our own terms. (Native American) Culture is living, and we have the responsibility of its continuity,” the artist says. He expands on the idea:

Through the medium of indelible ink, I am asserting our identity and our continued existence in the face of attempted erasure and negating the centuries of racist misrepresentations… In the re-appropriation of an object that may have been considered sacred to some, I hope to impose a sense of what Native people feel when we’re confronted with sacred objects or the bones of our ancestors displayed as macabre entertainment for capitalism.

If you’re in the Chicago area, Pappan’s ledger art is on display in the windows of 1100 Florence in Evanston through December 4. Otherwise, stay up to date with his subversive projects on Instagram and his site.

 

“Scout’s Honor” (2020), ballpoint pen on vintage Boy Scout neckerchiefs, approximately 100 x 20 inches

Left: “Quantum” (2020), mixed media on embossed Evanston municipal ledger, 36 x 18 inches. Center: “Land Acknowledgement Memorial” (2019), digital image, public art installation in Austin, Houston, Chicago, Toronto, and New York City, 33 x 22 inches. Right: “Of White Bread and Miracles (Shield)” (2020), mixed media on Evanston municipal ledger, 36 x 18 inches

“See Haw Thwarts and Alien Invasion from the West” (2019), mixed media on Evanston municipal ledger, 18 x 23 inches

“Displaced Peoples” (2014), acrylic and mixed media on wood panel, 40 x 30 inches

“Atom Heart Mother (Earth)” (2016), mixed media on ledger, 16 x 10 inches

“La Sauvage” (2016), mixed media on mining certificate, 9 x 7 inches

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