During the period between 1869 and the 1960s in the United States, a dark chapter in history unfolded as thousands of Indigenous children were enrolled in over 500 boarding schools. These schools, backed by the government and church groups, operated under the motto “Kill the Indian, Save the Man,” leading to the forced separation of children from their families and communities.
The boarding schools subjected Indigenous children to unimaginable abuse, often resulting in fatalities. Federal agents forcibly took children from their homes and punished them severely for speaking their native languages. By 1926, nearly 83 percent of Indigenous school-age children were enrolled in these institutions, highlighting the widespread impact of this traumatic practice.
The National Native American Boarding School Healing Coalition has shed light on the true purpose of these schools, which was to eradicate Native cultures and communities through the systematic removal and reprogramming of Indigenous children. While the U.S. government issued a formal apology for its role in the boarding schools in October, the journey towards understanding, processing, and healing the trauma is ongoing.
Artist Nicholas Galanin, who hails from the Tlingit-Unangax̂ community, uses his multidisciplinary practice to confront the past and challenge the prevailing narratives of the present. His current solo exhibition, The persistence of Land claims in a climate of change, showcased at the Peter Blum Gallery, delves into the themes of cultural memory, persistence, resistance, and endurance.
Galanin’s work often merges traditional Indigenous art forms with contemporary mediums, creating powerful and thought-provoking pieces. For instance, in “3D Consumption Illustration,” he dissects a totem figure to comment on the lack of respect for Indigenous art forms. In “Loom,” he assembles children’s desks into a totem pole-like structure as a tribute to the children who suffered in residential schools.
Through his artworks, Galanin challenges the viewer to reevaluate symbols and associations, such as using a polar bear pelt in “White Flag” to symbolize surrender and draw attention to the impact of climate change on Indigenous communities. His installations, like “Seletega,” confront the legacy of European colonization in North America and its devastating consequences for Indigenous peoples.
In The persistence of Land claims in a climate of change, Galanin continues to advocate for Indigenous rights and land stewardship while reflecting on themes of racial oppression, Indigenous knowledge, and collective resilience. His recent accolades, including the Guggenheim Fellowship and Joan Mitchell Fellowship, underscore the significance of his work in the contemporary art landscape.
By blending tradition with innovation, Galanin’s art serves as a powerful reminder of the resilience and resistance of Indigenous communities. His thought-provoking installations invite viewers to reflect on the past, present, and future of Indigenous cultures and histories.
