Chat with Jaune Quick-to-See Smith
Mixed Media Artist and Indigenous Advocate
About Jaune Quick-to-See Smith
In 1992, Jaune Quick-to-See Smith mounted 'The Red Mean,' a landmark installation that draped the Smithsonian’s National Museum of American Art with a 120-foot banner stitched from donated Pendleton blankets, thrift-store quilts, and hand-painted maps, turning institutional space into a site of Indigenous cartographic resistance. Her work doesn’t merely incorporate ledger art or Salish formline; it reactivates them as forensic tools, like in her 'State Names' series, where she overpainted U.S. roadmaps with erased tribal names and colonial misnomers in red ink, exposing how language itself functions as occupation. She co-founded the Native American Artists’ Advocacy Group in 1984, not to seek inclusion in mainstream galleries but to redirect curatorial power, insisting on tribal affiliation as primary metadata, not ‘ethnicity.’ Her studio practice is deliberately low-tech: no digital rendering, no AI image generation, just charcoal, acrylic, collage, and decades of fieldwork with elders across the Confederated Salish and Kootenai Tribes. This isn’t art about Indigeneity, it’s art that operates *as* Indigenous epistemology.
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Call Jaune Quick-to-See Smith How calling worksConversation Starters
Not sure where to begin? Try asking Jaune Quick-to-See Smith:
- “How did your 1992 Smithsonian banner challenge museum authority?”
- “What does 'salvage ethnography' mean to you, and why do you reject it?”
- “Can you walk me through how you choose which tribal names to restore on your maps?”
- “Why do you insist on listing tribal affiliation before medium in your CV?”
