Native Visual Sovereignty: A Reader on Art and Performance

Copublished with Center for Curatorial Studies, Bard College; Forge Project; MacKenzie Art Gallery; and SITE SANTA FE

Edited by Candice Hopkins
With newly commissioned essays by asinnajaq, Candice Hopkins, and Dylan Robinson; oral-history interviews with G. Peter Jemison, Rebecca Belmore, Spiderwoman Theater; Theo Jean Cuthand; as well as contributions by artists
Design by Santiago da Silva and Ana Cecilia Breña
560 pages, 180 images, softcover, 6 1/2 x 9 1/2 inches
ISBN 13: 978-1-954947-11-5

$45.00

Native Visual Sovereignty: A Reader on Art and Performance centers performance and theater as an origin point for the development of contemporary art by Native American, First Nations, Métis, Inuit, and Alaska Native artists, beginning with the role that Native artists have played in the self-determination era, sparked by the occupation of Alcatraz by the Indians of All Tribes in 1969. Native artists then and now are at the vanguard of performance art practices and discourse, using humor as a strategy for cultural critique and reflection, parsing the inherent relationships between objecthood and agency, and often complicating representations of the Native body through signaling the body’s absence and presence via clothing, blanketing, and adornment. Song, dance, and music are also posited as a basis for collectivity and resistance and a means to speak to a time when Native traditional ceremony and public gatherings were illegal in both the United States and Canada. Featuring excerpts from the 1969 document Indian Theatre: An Artistic Experiment in Progress, published by the Institute for American Indian Arts (IAIA) in Santa Fe, New Mexico, this generously illustrated reader will also include four long-form essays by leading Indigenous scholars, commissioned artist notes, oral-history interviews, and an edited selection of key texts from the fields of Native contemporary art, art history, and theory. The reader is an essential resource for curators, Native and non-Native artists, scholars, students, and teachers.
With contributions by:
Aiyyana Maracle, Arielle Twist, asinnajaq, Billy-Ray Belcourt, Brandee Caoba, Candice Hopkins, Cannupa Hanska Luger, Claire Kim, Cheryl L’Hirondelle, Demian DinéYazhi', Dylan Robinson, Eric-Paul Riege (with Hólǫ́), Eve Tuck, G. Peter Jemison, James Luna, Jeffrey Gibson, John G. Hampton, Jolene Rickard, Joseph Naytowhow, K. Wayne Yang, Kite, Leanne Betasamosake Simpson, Leo Cocar, Lloyd Kiva New, Marcia Crosby, María Carri, Maria Hupfield, Marina Caron, Michelle H. Raheja, Miss Chief Eagle Testickle (Kent Monkman and Gisèle Gordon), Monica Charles, New Red Order, Paul Chaat Smith, Rachel Horvath Eboh, Rebecca Belmore, Richard William Hill, Rolland R. Meinholtz, Spiderwoman Theater, Steven Durland, Szu-Han Ho, Tanya Lukin Linklater, Theo Jean Cuthand, Tom Eccles, Walter Scott

Praise and Press


If you saw the excellent “Indian Theater: Native Performance, Art, and Self-Determination since 1969” exhibition in 2023, you’ll know how layered and diverse the history of Native performance art is, and even if you didn’t see it, this may help get you up to speed. Starting with the well-known occupation of Alcatraz by Native activists in 1969, this reader makes the case that that important event kick-started an era of actions and performances that claimed public space for many groups who were facing erasure just a few decades before. This book centers Native agency, and that’s exactly the story we should all be reading.

—Hrag Vartanian, Hyperallergic, Our Favorite Art Books of 2025