5 Plain Questions

Mylan Panteah is a current scholar in the Young Innovative Investigator Program (YIPP) at the University of Connecticut. He finished his didactic and clinical rotations at the University of North Dakota School of Medicine in May 2019. He is originally from the Navajo Nation, born in Gallup NM, and is an enrolled member of the Navajo tribe but recognizes hi father's Zuni half as well. This current academic year at UConn he has joined the lab of Indigenous scientist Dr. Leslie Caromile, Eastern Band Cherokee descent, whose lab concentrates in Prostate Cancer research; projects include 3D-bioprinting, molecular data analysis, and health disparities research amongst BIPOC and LGBT community. Mylan is currently applying to Family Medicine Residency programs and plans to practice back home upon completion of both his research and physician training programs.

Instagram: @myley2424

Dwayne Wilcox “is entirely self taught--learning from friends and family. ‘I lived in Washington, DC for a few years and I managed to go through every museum archive I came across that contained ledger art. Ledger art had such a deep feel and I found it the most versatile of all Lakota arts’” (George E. Foster, Jr. Gallery of Prints, Drawings, and Photographs, sponsored Harwood Museum).

“Dwayne “Chuck” Wilcox has been a full-time artist since 1987, but has always been a lifelong producer of art. While he has no formal art training, Chuck had his first commissioned art piece in 1974, which eventually lead to a full time career.

He “is an enrolled member of the Oglala Lakota and was born in Kadoka, SD 1957. His family is from Wanblee, SD, and he attended Crazy Horse High school. Following graduation, Chuck enlisted in the military for four years. His wife was a career military member and they have lived in Colorado, South Carolina, Maryland and Montana.

“Chuck’s chosen medium is ledger paper, the first paper to make it’s way to the Great Plains in the 19 century. He uses this medium to convey, in the most contemporary way, a living culture through humor, dance, or vices of the modern times. His goal is to share a continuing view of how natives see the European culture and to reverse the paradigm" (Dog Hat Studio www.doghatstudio.com).

Wilcox also teaches children at the Red Cloud Indian School's Heritage center: "On a recent winter afternoon, Red Cloud fourth grader, Nevaya, sat drawing out a story on lined ledger paper, a well known Oglala Lakota ledger artist Dwayne Wilcox sat nearby, guiding her. . . See more

"My friends and family influence my work by the way they communicate and tell a joke or a story. In the Lakota way, humor is medicine and helps us heal. That is why there are such figures as the Sacred Clown. My drawings are meant to reflect that kind of humor and the traditional lifeways. This is what I see as everyday life" (Artist's Statement in Moving Walls, 19, Open Society Foundation).

Kayla Aubid, an enrolled citizen of the Standing Rock Sioux Tribe, has devoted her career

to the arts as a curator, educator, equity advocate, and arts administrator. She holds a BA in psychology

and American Indian studies from St. Cloud State University. She currently serves

in the role of Community Learning Catalyst with Arts Midwest continuing to live and work in 1855 Treaty Territory in Grand Rapids, MN. Previously, she worked as Gallery Director with the MacRostie Art Center. She has curated and organized contemporary art

exhibitions in Grand Rapids, MN and Rapid City, SD. Aubid has been in-residence at the Banff Centre, is a Commissioner for the Grand Rapids Arts and Culture Commission and a Trustee for the Blandin Foundation.

Joseph Allen has been creating and exhibiting his art for over 30 years. His photographs are in the collections of the Weisman Art Museum, the Minnesota Historical Society and the C. N. Gorman Museum, at UC Davis. He is a past recipient of a McKnight Photography fellowship, an alumnus of Intermedia Arts’ Creative Community Leadership Institute, a 2012 First Peoples Fund Artist in Business Leadership Fellow.

He is currently director of the Gizhiigin Arts Incubator in Mahnomen, MN—a project of the White Earth Nation’s economic development division. Gizhiigin supports Indigenous artists by providing services and resources to advance their artistic and entrepreneurial goals. Joseph serves on the board of directors of the Plains Arts Museum and is a former board member of the Region 2 Arts Council. Born in Eagle Butte, SD, Joseph is a citizen of the Sicangu Lakota Oyate. He also a descendant of the White Earth Ojibwe Nation where he lives in the Sugarbush Township.

Follow Wade on IG: https://www.instagram.com/wade_patton/

http://wadepatton.com/

From Wade Patton:

The spare beauty of the prairie resonates in my work. I’m an enrolled member of the Oglala

Lakota Tribe and grew up on the Pine Ridge Indian Reservation surrounded by a rich culture of

music and art. After obtaining a BA in art from Black Hills State University and having a solo exhibit

at the Sioux Indian Museum in Rapid City I decided to move away.

It took leaving South Dakota for me to find the voice in my most recent body of works. Yet, while

pursuing other art opportunities on the east coast, I longed for home.

Living on the east coast, I began expressing what I missed, the beauty and splendor of the

Black Hills and the skies of South Dakota. I started to draw landscapes and clouds, as a reminder

of home.

Something clicked, not only in my artistic expression, but with collectors and galleries. Their response

was unexpected, but welcomed. I started sending work back home for exhibits and to

galleries, and was getting recognition.

I realized how much I needed to return, I missed my family and I needed to pursue my art in the

place where I find the most inspiration. That decision brought me straight into the thriving Native

art scene that clearly wasn't here when I left.

Interestingly, when I moved back people would say, ‘Oh, you’re the cloud guy!’. People didn't

know me, but knew my work. I’m reacquainting myself with the land and my ancestry. This is

most prevalent in my new works and it’s exciting for me as an artist to look forward to the future

in the works that I’ll produce.

Since being home, I have been more involved in the art scene, involved with the community

more and have gained more respect with my art. I have been able to be here and explain more

on a one on one basis with people which is essential for an artist to sustain themselves with

their art.

“With the elegant line and an almost hypnotic use of pattern, Patton draws the viewer into his

interpretation of the natural elements and seasonal changes of the land. His mastery of graphite

evokes the subtlest of phenomenon and his spare use of color is inspired by beadwork, orchestrates

the prairie grasses, stormy skies and then power of the buffalo.’

-Deborah Mitchell, Director

APEX Gallery

Award winning artist Hillary Kempenich, is a member of the Turtle Mountain Band of Chippewa. Kempenich is an established studio artist and advocates for the Arts, Education, Social Justice, and Indigenous Human Rights issues. Raised on the Turtle Mountain reservation, Kempenich continues to advocate for better educational and cultural standards for our Native Indigenous people, and for all people, through her artwork in urban communities.

Kempenich comes from a family of strong artist abilities, of which are strong influences within her work. While holding on to the ties to the Turtle Mountains, Kempenich works on developing her trades with her own personal style. Kempenich’s heritage is blended from various tribes, including the Anishinaabe, Assiniboine, Blackfoot, Cree and Dakota. Kempenich acknowledges traditional elements influenced by her tribal lineage, yet is not tied to a dated or romanticized portrayal of her people. Creations may vary in mediums and techniques, Kempenich views herself as a storyteller of both the people and places she comes from… which is unique, traditional and modern.

http://www.hillarykempenich.com/

https://timesevents.nytimes.com/finishthefight

https://www.amazon.com/Finish-Fight-Brave-Revolutionary-Fought/dp/035840830X

Ashley Pourier (Oglala Lakota), Curator of The Heritage Center at Red Cloud Indian School. Born and raised on the Pine Ridge Indian Reservation with Bachelor of Fine Arts degree from Carthage College in Kenosha, Wisconsin. After undergrad, Ashley then returned home to serve her community. Her time with the Center has allowed her to support local, Native artists, while continuing to focus on museum studies, collections management and historic and contemporary Native American arts and culture.

Ashley serves as a member of the Dahl Art Center Advisory and Exhibit Committee, she has judged numerous art shows and competitions and volunteers for arts and culture events.

Jennifer Martel is an enrolled member of the Cheyenne River Reservation, resides and works on the Standing Rock Reservation.   She is currently the Coordinator of the Sitting Bull Visitor Center at Sitting Bull College. She has visitors/tourists from all over the world come through the doors.  She has gained knowledge and understanding through grant writing and giving opportunities to the communities and surrounding communities offering art and food classes. Having a good rapport with Native artists locally, nationally and internationally through networking and resourcing. Always seeking to help the community of artists as well as spring up new artists. Helping in the community is where you will find her working with the Youth, Elders or an event she has helped coordinate. As Native and artist rights activist, community leader, grant writer and educator, and a public speaker for the relatives. She has worked for the college the past 17 years and has a BS in Business Administration/Management with SBC/Oglala Lakota College.

Jennifer White is a painter and owner of Post Pilgrim Art Gallery in Sioux Falls, South Dakota. Jennifer, or J-White as she’s known in the art community grew up in Yankton, South Dakota. And like many Native Americans had to find her own personal identity between the Native and non-Native community.

Through this experience she has carved out her own space, created her own opportunities, and is the definition of cool for all that know J-White.

And that’s what makes her so interesting. Jennifer has a resilience in her that is not just both strong and powerful, but allows her humor and good-natured way to shine through. And she’s a light worth moving towards.

Jennifer White grew up in Yankton SD. She traveled between her parents and maternal Grandmother during the school year and her paternal extended family in Mission SD during the summers.

During White's upbringing there were many challenges set forth by both her home and social environments. In school she was one of four Native families that attended grade school. It was here White's first recollection at the age of 8 that she knew she was 'different' with the simple phrase "You're pretty for an Indian". Followed by her fifth grade year of being called a "nigger" on the school bus on her way to a slumber party.

White's life at home didn't allow for conversation to explore these experiences due to alcohol and drug abuse by overworked parents. These moments in White's life led her to the conclusion that self help was more that likely the only avenue to learn to cope and handle outside influences on her development as a young person.

Art was a major outlet for White during these times. The one place nobody had to know what exactly was being said but was appreciated by others. Art created a sense of self worth for White.

Being self taught with minor training in high school and one year of college, left a lot to be desired in regard to treating art as a disciplined career choice. But by taking the stand of turning life around not just for her but for her children, White made the choice to turn her outlet into a career in 2008.

White's work is a narrative of her trials and tribulations through painting. Just like White, the influence of growing up in a non-Native and Native community is represented in her work. She continues to be inspired by both cultural experiences and is proud of both.

White strives to bring a new voice to Native work and not be influenced by the ideals and expectations of non-Native teaching in regard to anything. Her drive to get the urban Native youth community to engage in being proud to be Native but not letting it define them is an awesome experience.

The artist community has always welcomed her into the inner workings of how to engage with museums and art market circuits. (Native and Non-Native Alike)

The artists that have nurtured White through her journey have done so by sharing their experiences not just through art but laughter. Native humor is raw with emotion but honest in meaning. Every artist has a different story but White takes one lesson from all of them collectively....'You will always be a student of life and it is our responsibility to document all of it through Native eyes."

Jennifer White

Post Pilgrim Art Gallery Owner/Artist

5 Plain Questions Summer Update by Joe Williams