Alan Michelson’s recent installation at the Museum of Fine Arts, Boston, titled “The Knowledge Keepers,” is a powerful response to the problematic and outdated narrative of the “Vanishing Indian” myth that has long plagued Indigenous communities. Michelson, who was separated from his Mohawk birth family as a child and only discovered his Native heritage later in life, felt a deep connection to sculptor Cyrus Edward Dallin’s “Appeal to the Great Spirit” outside the MFA, which symbolized the harmful myth of Indigenous peoples facing extinction.
After decades of reconnecting with his Indigenous community and developing a successful career in video, installation, and public art, Michelson decided to challenge this myth by creating two stunning sculptures of living Native leaders who are Indigenous to the land now known as Boston. These sculptures, made of platinum-gilded bronze, depict Aquinnah Wampanoag artist and activist Julia Marden and Nipmuc artist Andre StrongBearHeart Gaines Jr. standing proudly on plinths at the entrance of the MFA, defiantly asserting the continued vitality of Native communities today.
The gleaming forms of Marden and Gaines Jr. serve as a powerful counterpoint to the outdated and harmful narrative perpetuated by Dallin’s sculpture, embodying resilience, strength, and cultural continuity. By honoring these living Native leaders, Michelson seeks to challenge the erasure of Indigenous peoples from the historical and cultural landscape of Boston and beyond.
In a conversation with Editor-in-Chief Hrag Vartanian on the Hyperallergic Podcast, Michelson delves into the inspiration behind “The Knowledge Keepers,” discussing his childhood fascination with dinosaur tracks on Mt. Holyoke, the complex legacy of George Washington as a “Town Destroyer” in many Native languages, and his belief in the land as a silent witness to history. Through his art, Michelson not only celebrates the resilience and strength of Indigenous communities but also challenges viewers to confront and dismantle harmful colonial narratives that continue to marginalize and erase Indigenous voices. The installation of “The Knowledge Keepers” at the Museum of Fine Arts in Boston marks a significant moment in the art world. These sculptures, created by artist Alan Michelson, stand as a powerful response to the harmful myth of “The Vanishing Race” perpetuated by earlier sculptures on the museum’s grounds. Michelson, a Mohawk member of the Six Nations of the Grand River, draws on his indigenous heritage and personal experiences to create these striking works of art.
Growing up in Boston, Michelson was captivated by Cyrus Dallin’s “Appeal to the Great Spirit,” a sculpture that symbolized the false narrative of indigenous people disappearing in the face of colonization. Years later, Michelson was commissioned to create his own sculptures, challenging this harmful narrative. “The Knowledge Keepers” are based on two living community members from the Boston area, shining brightly in silver finish as a testament to the resilience and strength of indigenous peoples.
In a conversation with curator Ian Alteveer, the chair of Contemporary Art at MFA Boston, Michelson delves into his personal journey of reconnecting with his indigenous heritage after being separated from his birth family through adoption. He discusses the significance of the land as a witness to history and his role as an advocate for those who cannot speak for themselves.
Alteveer sheds light on the process behind the installation of “The Knowledge Keepers” and its place within the museum’s facade. This monumental addition coincides with the inaugural Boston Public Art Triennial, showcasing the intersection of contemporary art and public space.
Through these sculptures, Michelson and Alteveer invite viewers to engage with the complexities of indigenous identity, history, and resilience. “The Knowledge Keepers” stand as a powerful reminder of the importance of reexamining historical narratives and honoring the voices of indigenous communities in the present day. It’s part of the landscape of the city. And so I wanted to engage with that in a way that wasn’t disrespectful, but that was more illuminating. So I proposed to the MFA that I would bring in two Indigenous artists to create a monument to the knowledge keepers of the land that would stand on either side of the Dallin sculpture. And they agreed. So we brought in two artists: Eliza Naranjo Morse, who is an artist from the Santa Clara Pueblo in New Mexico, and Paul Mathieu, who is a French-Canadian artist from Quebec. They both have connections to the land and to the history that is underrepresented in the city of Boston.
The sculptures that they created are stunning. Eliza Naranjo Morse created a sculpture of a woman holding a pot, representing the knowledge of the land, of the plants, of the water, of the earth. And Paul Mathieu created a sculpture of a man holding a bundle of arrows, representing the knowledge of defense, of protection, of survival. These sculptures stand in stark contrast to the Dallin sculpture, but they also complement it in a way that brings out the complexity of history and representation.
I think it’s important to have these conversations about history and representation in public spaces. It’s important to recognize the erasures and the silences in our history, and to bring those stories to light. And I hope that “The Knowledge Keepers” project at the Museum of Fine Arts in Boston can be a starting point for those conversations.
I want to thank Alan Michelson, Eliza Naranjo Morse, Paul Mathieu, and the Museum of Fine Arts in Boston for their work on this project. It’s a powerful reminder of the importance of representation and of honoring the knowledge keepers of the land. Thank you for joining us today. The conversation between artist Alan Michelson and art historian Heidi Latsky delves into the significance and meaning behind the sculptures “Great Spirit” and “The Knowledge Keepers” that are displayed at the entrance of a museum. The “Great Spirit” sculpture, which depicts a Native American figure in a crucifix-like pose, is contrasted with the more optimistic and powerful stance of the figures in “The Knowledge Keepers,” who are local Nipmuc activists covered in platinum.
Michelson explains that his intention with “The Knowledge Keepers” was to capture the radiant energy and importance of these individuals within their communities. The choice of platinum as the gilding material was deliberate, as it symbolizes a futuristic and forward-facing aspect, in addition to its stability and durability. The use of platinum also ties back to traditional Native American materials like wampum and silver, while adding a modern twist.
Latsky and Michelson discuss how the platinum finish complements the sculptures, adding a sci-fi element and changing the dynamic of the museum entrance. The placement of “The Knowledge Keepers” alongside the “Great Spirit” sculpture creates a sense of unity and connection, as if the figures are in the hands of the larger sculpture.
Overall, the choice of platinum gilding for “The Knowledge Keepers” adds a layer of depth and significance to the sculptures, reflecting Michelson’s attention to color and materiality in his work. The radiant glow of the platinum enhances the presence of the figures and complements the overall atmosphere of the museum entrance. Platinum, a metal often associated with luxury and sophistication, has a rich history that many may not be aware of. Recent research by anthropologists and archaeologists has revealed that platinum is actually an indigenous metal, first discovered and used by indigenous peoples in South America. This discovery sheds light on the deep cultural significance of platinum and its importance in various indigenous societies.
One fascinating aspect of platinum is its incredible durability and resistance to corrosion. This makes it one of the most incorruptible metals, making it ideal for a wide range of applications, especially in space-age technologies. Its unique shimmering quality, rather than being reflective like other metals, gives it a beautiful and almost otherworldly sheen. This quality, combined with its protective coating, adds to the allure of platinum and makes it stand out from other metals.
Alan, an artist working with platinum, harnesses the metal’s unique properties to create stunning artworks that captivate viewers. His use of platinum in his sculptures gives them a beautiful and almost lunar quality, especially when viewed at night. The spectacular gleam of platinum adds a sense of protection and awe to Alan’s sculptures, transforming the viewing experience for those who pass by the museum.
In a conversation with Andrew, a member of the Mohawk community from Six Nations in Southern Ontario, the topic of indigenous heritage and cultural identity is explored. Andrew shares his personal experience of being separated from his Native family through adoption and growing up unaware of his Mohawk background. Discovering his heritage in his 20s was a transformative experience for Andrew, prompting him to learn more about his culture and identity.
The conversation delves into the complexities of Native adoption and the structural inequalities that perpetuate the separation of Native families. Andrew’s journey of rediscovering his roots and embracing his Mohawk heritage has shaped his worldview and artistic practice. His connection to the land and curiosity about his indigenous identity have influenced his work and the way he sees the world.
Overall, the exploration of platinum as an indigenous metal and Andrew’s personal journey of reconnecting with his Native heritage highlight the importance of cultural identity and the resilience of indigenous communities. By shedding light on these stories and experiences, we gain a deeper understanding of the rich history and traditions of indigenous peoples and the enduring significance of materials like platinum in their cultures. Alan Michelson, a contemporary artist known for his immersive installations and time-based artworks, recently discussed his love for panoramic format and the multi-perspectives it offers in his work. In a conversation with art critic Hrag Vartanian, Michelson explained that his large-scale pieces invite dialogue and engagement, rather than a quick glance and move on.
One of Michelson’s notable works, “He(a)rd,” created in 2005 at Compton Verney in the UK, exemplifies his approach to art. The piece featured the sound of a bison stampede playing in a neoclassical room designed by architect John Adams. The juxtaposition of the wild stampede with the serene space created a dynamic experience for viewers. Michelson described how he strategically placed speakers to create the illusion of the stampede moving back and forth, adding layers of depth and movement to the installation.
In discussing his relationship with historic figures and spaces, Michelson shared his fascination with engaging in a dialogue with preexisting elements. Whether responding to Thomas Jefferson’s architecture in Virginia or Thomas Cole’s legacy in the Hudson River School, Michelson’s work often builds upon historical contexts to project new narratives into the future.
Michelson revealed that his childhood experiences, including encountering dinosaur tracks near his home in Holyoke, Massachusetts, have deeply influenced his artistic vision. The sense of time travel and fascination with traces of the past have shaped his approach to creating artworks that evoke a sense of history and presence simultaneously.
The artist’s use of objects and impressions in his work, such as embedding fossils in stones or casting vegetables as decorative elements, reflects his interest in capturing traces of the past and standing for absences. Michelson sees every site as a repository of information and traces, inviting viewers to engage with layers of history and memory.
Overall, Alan Michelson’s art invites viewers to explore the complexities of time, history, and perspective. Through his multi-layered installations and immersive experiences, he encourages dialogue and reflection on the interconnectedness of past, present, and future. In a recent conversation between artist Mary Mattingly (AM) and Hans Ulrich Obrist (HV), Mattingly delved into the inspiration behind her public artworks and the historical significance of her projects. The discussion focused on the hidden history of the Collect Pond in New York City, a site that used to be located where the courts and prison stand today.
Mattingly recounted how the Collect Pond, a spring-fed pond that was once a thriving ecosystem supporting diverse life, was ultimately destroyed by human intervention. The pond was buried under layers of landfill, turning it into a toxic wasteland. The neglectful actions of those who sought to develop the land led to its demise, resulting in a stinking mess that was later buried under Canal Street.
Despite the destruction of the pond, Mattingly highlighted the rich history of the site, including its significance to the Lenape people and the abundance of shellfish that once thrived in the area. She emphasized the importance of recognizing and honoring the Indigenous history of the land, which is often overlooked in mainstream narratives.
The conversation also touched upon Mattingly’s collaboration with the Billion Oyster Project, an initiative aimed at restoring the oyster population in New York City’s waters. Through art installations and partnerships with environmental organizations, Mattingly is working to raise awareness about the importance of nature-based solutions for environmental restoration.
Mattingly discussed her artistic practice, which incorporates casting, video, and formal experimentation with materials. She emphasized the role of art in monumentalizing life, freezing moments in time, and inviting reflection. By blending documentary aspects with formal experimentation, Mattingly aims to create work that is both visually stimulating and conceptually engaging.
Overall, the conversation between Mattingly and Obrist shed light on the intersection of art, history, and environmental activism in Mattingly’s practice. Through her public artworks and collaborations with environmental organizations, Mattingly is challenging viewers to reconsider their relationship with the natural world and the hidden histories buried beneath the surface of urban landscapes. Alan Michelson’s exhibition at MoMA PS1 featured a midden piece that projected an extreme panoramic video onto three tons of shells laid out in a wedge-shaped formation. The shells were from the polluted Newtown Creek, once a pristine oyster ground. This juxtaposition of nature and pollution created a thought-provoking visual experience for viewers.
The video, which measured 30 feet by six feet, was visible from three different levels of the museum. From the main floor, the video appeared flattened out, but as viewers descended to the basement and sub-basement levels, the shells seemed to liquify while the video hardened. This dynamic interaction between the video and the shells highlighted the contrast between the flowing colors of the video and the mute yet expressive nature of the shells.
One of the most striking pieces in the exhibition was a projection of George Washington’s face onto a shell. Michelson’s choice to depict Washington, known as the “town destroyer” in the Mohawk Nation, challenged traditional narratives surrounding the first U.S. president. By highlighting Washington’s role in the genocide of Native Americans, Michelson disrupted the sanitized image of the founding father and prompted viewers to reconsider their understanding of history and heritage.
This use of historical figures in Michelson’s work represents a departure from his usual focus on the traces left by human actions. By incorporating figurative elements into his art, Michelson explores the complexities of history and the biases inherent in our understanding of the past. The juxtaposition of Washington’s iconic image with the harsh reality of his actions serves as a powerful critique of the selective nature of heritage and the need to confront uncomfortable truths about the past.
In a similar vein, Michelson’s work with the Dallin sculpture in front of the Museum of Fine Arts highlights the importance of reexamining historical monuments and their implications. By challenging conventional narratives and presenting alternative perspectives, Michelson’s art encourages viewers to engage critically with the stories we tell about our shared history.
Overall, Alan Michelson’s exhibition at MoMA PS1 offers a thought-provoking exploration of the intersection between nature, history, and memory. Through his innovative use of materials and imagery, Michelson prompts viewers to reconsider their understanding of the past and reflect on the complexities of our collective heritage. Houdon, a name that is synonymous with sculptures and artistry, has been glamorized into an almost ancient Roman-like figure. However, there is another side to this historical figure that has been projected onto him. In a recent conversation with AM and HV, the topic of violence and town destruction was brought up in relation to Houdon’s title as “Town Destroyer.” This led to a discussion about the history of American presidents and their roles in town destruction, shedding light on a darker side of American history.
The conversation delved into the idea of place and space in sculpture, connecting it to the notion of the land as a silent witness. The landscape, often seen as pristine before European arrival, was actually crafted by Native Americans, who had a deep relationship with the land. This perspective challenges the traditional narrative of the landscape and highlights the importance of indigenous knowledge and culture.
AM shared their thoughts on landscapes, emphasizing the reverence and love found in Native place names. These descriptions contain a deeper meaning and knowledge that is often overlooked. The dialogue with these spaces is crucial in understanding and appreciating indigenous cultures and histories.
The discussion also touched on the changing landscape of art institutions, such as the Museum of Fine Arts, where indigenous artists are now being recognized and integrated into the art world. The role of non-Native curators in learning about and representing indigenous artists was emphasized as a crucial step towards inclusivity and diversity in the art world.
The conversation concluded with a mention of Robert Smithson, an artist known for his land art. His work, while intriguing, also reflects a sense of entitlement and disregard for the landscape. This hubris and extractive nature of artistry highlight the complexities of art and its relationship to power and privilege.
Overall, the conversation shed light on the multifaceted nature of art, history, and culture, challenging traditional narratives and perspectives while advocating for inclusivity and diversity in the art world. As we continue to explore and engage with art, it is important to consider the voices and stories of marginalized communities, including indigenous artists, whose perspectives are often overlooked. Alan Michelson, a brilliant artist hailing from a humble tract house in New Jersey, met a tragic end while researching a site from the aerial view of a plane. His death adds a legendary yet disturbing aura to his already impressive body of work. One of his most renowned pieces, Spiral Jetty, captures the complexity and conversational quality that defines his art.
In a recent conversation, Michelson and interviewer Hrag Vartanian delve into the power of visual art as a democratic and impactful medium. Michelson emphasizes the importance of creating a magnet for viewers to engage with the artwork, sparking conversations and reflections. Visual art, he notes, is unique in its ability to convey profound messages in a compact and immediate way, transcending cultural boundaries and inviting diverse interpretations.
The conversation touches on the immersive experience of consuming art, likened to ‘drinking from a fire hose’ as one navigates the intense and multi-layered narratives within a museum or gallery. Michelson highlights the transformative and intense nature of art, drawing viewers into a realm of rapture and contemplation.
When asked about the question he hopes people ponder when encountering his work, Michelson humorously suggests, “How much is it?” This playful response underscores the relatability and accessibility of art, encouraging viewers to explore their relationship with the object and engage with its propositions. Michelson’s work is designed to be relational, allowing individuals to interpret and interact with it in their unique way.
As Michelson’s exhibit “The Knowledge Keepers” becomes a part of the Boston Art Triennial, he expresses his excitement for the opportunity to reach new audiences and engage with contemporary Native artists. The ongoing showcase of his work beyond the initial exhibition period reflects the lasting impact and significance of his creations.
In conclusion, Michelson’s art invites viewers to immerse themselves in a world of thought-provoking narratives and engaging dialogues. His legacy as an artist continues to resonate, inspiring conversations and reflections on the power of visual art to transcend boundaries and spark meaningful connections. The world of technology is constantly evolving, with new advancements and innovations being made every day. One of the most exciting developments in recent years has been the rise of artificial intelligence (AI). AI is a branch of computer science that focuses on creating intelligent machines that can think, learn, and adapt on their own.
One area where AI has made a significant impact is in the field of healthcare. AI has the potential to revolutionize the way we diagnose, treat, and manage diseases, ultimately improving patient outcomes and saving lives.
One of the key ways AI is being used in healthcare is through medical imaging. AI algorithms are being trained to analyze medical images, such as X-rays, CT scans, and MRIs, to identify abnormalities and assist in diagnosing diseases like cancer, heart disease, and neurological disorders. These AI-powered imaging tools can help radiologists detect and diagnose diseases earlier and more accurately, leading to better outcomes for patients.
AI is also being used to personalize treatment plans for patients. By analyzing vast amounts of data, AI algorithms can identify patterns and trends that may not be apparent to human doctors. This information can help healthcare providers make more informed decisions about which treatments are most likely to be effective for individual patients, leading to more personalized and effective care.
In addition to diagnosis and treatment, AI is also being used to improve patient care and outcomes. For example, AI-powered chatbots and virtual assistants can provide patients with information and guidance on managing their health conditions, scheduling appointments, and accessing medical services. These tools can help patients stay engaged in their care and make more informed decisions about their health.
Despite the many benefits of AI in healthcare, there are also challenges and concerns that need to be addressed. One of the main concerns is the potential for bias in AI algorithms, which can lead to disparities in healthcare outcomes for certain populations. It is important for developers and healthcare providers to be aware of these biases and take steps to mitigate them.
Overall, the integration of AI in healthcare holds great promise for improving patient outcomes, increasing efficiency, and reducing healthcare costs. As technology continues to advance, we can expect to see even more innovative applications of AI in healthcare that will continue to transform the way we deliver and receive medical care. The world of fashion is constantly evolving, with new trends emerging every season. From bold prints to minimalist designs, there is something for everyone in the world of fashion. However, one trend that seems to be here to stay is sustainable fashion.
Sustainable fashion is a movement that aims to reduce the environmental impact of the fashion industry by promoting ethical and eco-friendly practices. This includes using organic materials, recycling and upcycling fabrics, and reducing waste in the production process.
One of the key principles of sustainable fashion is the idea of “slow fashion.” This concept encourages consumers to buy fewer, higher quality pieces that will last longer, rather than constantly buying new, cheaply made items that will quickly go out of style. By investing in timeless pieces, consumers can reduce their carbon footprint and support ethical fashion brands that prioritize sustainability.
There are many ways that fashion brands are incorporating sustainability into their designs. Some brands are using organic cotton and bamboo fabrics, which are grown without harmful pesticides and require less water to produce. Others are using recycled materials, such as plastic bottles and old denim, to create new garments. By repurposing existing materials, these brands are reducing waste and conserving resources.
In addition to using eco-friendly materials, sustainable fashion brands are also focusing on ethical production practices. This includes paying fair wages to garment workers, providing safe working conditions, and supporting local communities. By prioritizing the well-being of their employees, these brands are promoting social responsibility and transparency in the fashion industry.
Consumers are also playing a key role in the sustainable fashion movement. By choosing to support ethical brands and buying second-hand clothing, consumers can help reduce the demand for fast fashion and promote a more sustainable fashion industry. Additionally, by taking care of their clothes and repairing them when needed, consumers can extend the life of their garments and reduce waste.
Overall, sustainable fashion is not just a trend – it is a movement towards a more ethical and environmentally friendly fashion industry. By supporting brands that prioritize sustainability and making conscious choices as consumers, we can all contribute to a more sustainable future for fashion. Let’s embrace the slow fashion movement and make a positive impact on the world of fashion. The sun beamed down on the small town, casting a golden hue over the bustling streets. People walked past each other, going about their daily routines with a sense of purpose and determination. The smell of freshly baked bread wafted through the air, mixing with the sound of children’s laughter as they played in the nearby park.
As I walked through the town, I couldn’t help but feel a sense of nostalgia wash over me. This town was where I had grown up, where I had made countless memories with friends and family. The familiar sights and sounds brought back a flood of emotions, making me realize just how much this place meant to me.
I stopped by the local bakery, unable to resist the temptation of their delicious pastries. The warm, flaky croissants melted in my mouth, reminding me of lazy Sunday mornings spent in this very bakery with my parents. The friendly baker greeted me with a smile, asking about my day and how I had been since I left town.
After finishing my snack, I decided to take a stroll through the park. The trees rustled in the gentle breeze, their leaves rustling in a symphony of nature. I watched as children ran around, their laughter filling the air with joy and innocence. It was a simple scene, but one that brought a sense of peace and contentment to my heart.
As I continued my walk, I passed by the town square where a group of musicians had set up their instruments. Their melodies filled the air, weaving a tapestry of sound that captivated everyone within earshot. I stopped to listen, closing my eyes and letting the music wash over me. It was a moment of pure bliss, a reminder of the beauty that could be found in the simplest of things.
As the sun began to set, casting a warm glow over the town, I knew that this place would always hold a special spot in my heart. It was a place filled with memories and moments that had shaped me into the person I was today. And as I walked back home, I felt grateful for the chance to revisit my past and rediscover the beauty that lay in the familiar streets of my hometown. The sun was shining brightly in the sky as I walked through the bustling city streets, filled with people going about their daily routines. I could feel the warmth of the sun on my skin, a welcome change from the cold and dreary days of winter that had finally passed. Spring had arrived, bringing with it a sense of renewal and hope.
As I made my way through the city, I noticed the flowers blooming in the parks and gardens, their vibrant colors a stark contrast to the muted tones of winter. The air was filled with the sweet scent of blossoms, a reminder of the beauty and fragility of nature.
I stopped to admire a group of children playing in a nearby park, their laughter echoing through the air. It was a joyous sight, a reminder of the innocence and carefree nature of youth. The children ran around, chasing each other and playing games, their faces alight with smiles.
As I continued my walk, I passed by sidewalk cafes filled with people enjoying the warm weather, sipping on cold drinks and chatting with friends. The sound of clinking glasses and lively conversation filled the air, creating a sense of community and togetherness.
I reached the river that ran through the city, its waters sparkling in the sunlight. I sat on a bench overlooking the water, taking in the peaceful scene before me. Ducks swam lazily by, their soft quacks adding to the tranquil atmosphere.
As I sat there, I couldn’t help but feel grateful for the beauty of the world around me. Spring had brought with it a sense of new beginnings, a reminder that no matter how dark and cold the winter may be, there is always the promise of renewal and growth.
As I made my way back home, I carried with me the sense of peace and joy that the arrival of spring had brought. The world seemed to be coming alive again, bursting with color and life. I knew that there would be challenges ahead, but I also knew that as long as I held onto the hope and beauty of spring, I would be able to overcome anything that came my way.
