“This Is A Stereotype” is an artistic narrative about the possible causes and effects surrounding Indigenous identity with the intention to socially engage the public. The project is compiled of historical footage sourced from the Archives of the Institute of American Indian Arts’ "Native American Video Tape Archive, 1976” juxtaposed with imagery and interviews from contemporary artists, scholars, and activists from across the United States. “This Is A Stereotype” invites the viewer to become an active participant in society, thinking critically when making decisions regarding culture and appropriation.

Through Red Star's photographs and sculpture new universes are built, simultaneously urban-rural and high-low with their own language of symbols created from such seemingly disparate sites as HUD houses, rez cars, three legged dogs, powwow culture, proliferative indigenous commoditization, and Red Star's personal collection of memories growing up as a half-breed on the Crow Indian reservation. The work represents an insider/outsider view that is wrath with complexity and contradiction, its most salient attributes. Red Star's unruly approach examines a cross section of American cultures and their very consumption while also being a meditation on her own identity. Exploring the intersection between life on the reservation and the world outside of that environment. Red Star thinks of herself as a cultural archivist speaking sincerely about the experience of being a Crow Indian in contemporary society.

Kimi grew up on Maui, Hawaii where her father was a dedicated freediver. With a craving for the simple life, Kimi followed in her dad’s footsteps, winning a U.S. National Spearfishing Championship in 2008. Kimi is not only an accomplished water-woman, but she is also a successful artist and chef. “Going diving feels like going home, and I hope to cherish it for the rest of my life.”-Kimi Werner

As a queer, multi-racial/lingual female mixed-media artist, Miyuki is happiest when working with people who embrace intersectionality. After graduating from Swarthmore College in 2012, where she was involved in queer Asian activism and making art, she received the Watson Fellowship to travel the world in search of queer artists and activists and made 8 zines highlighting what she learned under her publishing house Queer Scribe Productions. Miyiki is a freelance artist, journalist, barber, translator, seamstress, lecturer and performer.

Painter and large scale muralist Thomas 'Breeze' Marcus has painted over a dozen murals in the city of Phoenix alone, but he is also known to rock a canvas and mixed-media materials in a gallery setting with ease and grace. His work reflects the woven stories of our lives, and reminds us that everything is connected, that there is no one way to exist. Breeze has chosen the path of a full-time artist and although he goes where his art takes him, he seems most connected with his work when painting large walls or murals, respecting the craft of Graffiti as being one of the great contributors to contemporary art.

Valentina, better known in the music and art scene as VRGNZ was born a daughter of Texas music. This Appala Chilean exemplifies diversity not only in heritage, but also in her multi faceted artistic backgrounds. Her Chilean father, a musician and night club owner, and her Kentucky raised mother, a teacher, worked hard to cultivate they're daughters creative spirit. As a teen, Valentina grew with the underground hip-hop movement and after connecting with Chris Calloway, her greatest musical mentor and the daughter of legendary Cab Calloway, Valentina began her journey as an independent artist. Finding experience and passion through recording, traveling, skateboarding, and design, Valentina continues to evolve her artistic pursuits and abilities.

"I am motivated in my work fundamentally by the search for freedom in all forms. I seek to create a contemporary terrain in the juxtaposition of my living memories. Playing with elements of space and time, I create a synthesis of symbolic objects floating and bending on the canvas at all angles; negating the horizon and the rule of linear experience. In this suspended dichotomy between nature and the urban environment a new world is made. The creation mythology of this space is narrated in my work where Oklahoma meets NYC meets inspirations from travels. In the end, exploding the expectations of current experience." -Yatika Starr Fields

Bethany Matai Edmunds a.k.a Miss b.Me is a weaver, artist, fiber sculptor and Hip Hop lyricist. Edmunds visual work is grounded in traditional Maori weaving which she conceptually translates using traditional materials and fibers, combined with contemporary denim and mixed media, which further expresses her experiences of being a culture bearer of 'pART mAOri' descent. Lyrically, Edmunds also called Miss b.Me, explores similar concepts which she poetically expresses through cultural references and feminine flows, combining stories inspired by her Maori heritage and her unique worldview of life as an artist, poet and MC. Edmunds has a strong focus on the enhancement of taitamariki, young people, through the use of the arts, and ensuring that nga taonga tuku iho, the skills passed down from our ancestors, are retained for future generations.

Frank Buffalo Hyde traces his heritage to the Nez Perce and Onondaga people, Hyde is recognized for breaking through the boundaries commonly placed around what is considered Native American art. His work confronts stereotyping of culture and informs the viewer that they are participants in the conversation. He is defining himself as a Native American without being a stereotype and dealing with what he calls the "fragmented contemporary life" of a Native U.S. citizen.

Frank Buffalo Hyde traces his heritage to the Nez Perce and Onondaga people, Hyde is recognized for breaking through the boundaries commonly placed around what is considered Native American art. His work confronts stereotyping of culture and informs the viewer that they are participants in the conversation. He is defining himself as a Native American without being a stereotype and dealing with what he calls the "fragmented contemporary life" of a Native U.S. citizen.