Low-Rez: Native American Lowbrow Art

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"Reclamation: Manifestations of Changing Woman," Nani Chacon, oil on masonite

Santa Fe, NM — Low-Rez: Native American Lowbrow Art is a group art show of emerging and established Native artists working in the “lowbrow” genre of Pop Surrealism. The show runs from August 17 to September 1, 2012, and opens with a reception on Friday, August 17, 5:30 – 9:00 pm at 131 West San Francisco Street, First Floor near the downtown Santa Fe Plaza. A closing reception will be held on Saturday, September 1st, from 6:00 pm – 9:00 pm. Both events are free and open to the public.

Participating artists include: Jamison Chas Banks (Seneca-Cayuga-Cherokee), Nanibah “Nani” Chacon (Navajo), Brent Greenwood (Ponca-Chickasaw), Amber Gunn Gauthier (Ho-Chunk–Menominee), April Holder (Sac and Fox-Wichita-Tonkawa), Topaz Jones (Shoshone-Lummi-Kalapuya-Molalla), Randy Kemp (Choctaw-Yuchi), Linda Lomahaftewa (Hopi-Choctaw), Cannupa Hanska Luger (Mandan-Hidatsa-Arikara), Daniel McCoy, Jr. (Potawatomi-Muscogee Creek), America Meredith (Cherokee Nation), Chris Pappan (Osage-Kaw-Cheyenne River Sioux), Jeremy Singer (Navajo), Monty Singer (Navajo), Ryan Singer (Navajo), Hoka Skenandore (Luiseño-Oneida-Oglala Lakota), “The Werewulf” Micah Wesley (Kiowa-Muscogee Creek), and Debra Yepa-Pappan (Jemez-Korean). The show will also feature a mural by Jamison Chas Banks and Keith Secola (Northern Ute), both recent IAIA graduates.

Coming from diverse backgrounds and experiences, these artists are united in their use of pop cultural imagery to express themselves as contemporary indigenous peoples. Most of the artists attended the Institute of American Indian Arts, a school dedicated to Native artists choosing their own path in self-representation, and most are participating in SWAIA’s Indian Market.

Redemption March, Ryan Singer (Navajo), acrylic, 2012

Lowbrow Art, also called Pop Surrealism, has mushroomed over the last few decades, as a response to overblown bombastic excesses of conceptual art and a return to a love of craft and technique in art making. Santa Fe has been an epicenter for the Native Pop movement, in which artists use pop imagery to explode non-native fantasies of Indians as the timeless “Noble Savage” and to establish entry points for audiences who might not be familiar with tribal histories or imagery. The subversive humor of Native Pop and Lowbrow Art provides a perfect vehicle for social commentary without becoming preachy or propagandist.

The pop imagery used by the artists isn’t random. Often it reflects traditional Native imagery that was co-opted by mass media—Trickster Rabbit as Bugs Bunny, Princess Leia’s Hopi butterfly whorl hair-do, Taos Pueblo artist Pop Chalee’s blue deer paintings transformed by Walt Disney into “Bambi”—acts of re-appropriation.

Pin-up girls are transformed by the hand of Amber Gunn Gauthier and Nani Chacon from sex objects for voyeurs to symbols of empowered women who own their sexuality. Chris Pappan turns traditional ledger art on its head. Linda Lomahaftewa was part of the initial wave of Native Pop artists and was a classmate of T. C. Cannon at IAIA. Lomahaftewa lived in the Bay Area in the 1960s and 1970s and will exhibit monotypes with UFO-imagery. Micah Wesley and Cannupa Hanska Luger were part of the Humble Collective, an artist-run space that challenged and inspired waves of artists over the last decade.

Daniel McCoy combines comic book imagery with imagery from traditional Muscogee ceremonial grounds of his youth, with wry to dark humor. McCoy will create a large scale, site-specific installation at the street-level San Francisco gallery space.

The art show’s website is at www.ahalenia.com/lowrez.

Heather Ahtone Reads Beneath the Surface

Parking Lot, Joe Feddersen (Colville), glass, 2003

In her 2009 essay, “Designed to Last,” Choctaw-Chickasaw artist, writer, and curator heather ahtone proposed a means of critiquing Indigenous American art based on Indigenous art theory. In her essay “Reading Beneath the Surface: Joe Feddersen’s Parking Lot,” presented at the College Art Association Conference and published earlier this year in Wicazo Sa Review, she puts her ideas into action by critiquing a sculpture by Joe Feddersen using Indigenous methodologies.

Her introduction lets us know exactly what's at stake. “Every time an Indigenous artist creates an object that reflects concepts rooted within her culture this same artists is perpetuating the culture one more day as an act of self-determination,” Ahtone writes at the opening of the essay. She continues, “While every effort of political and religious assault has been made historically to subdue these same cultures, their survival can be partially attributed to the continued production of visual and performance arts” (Ahtone 73).

Ahtone writes that Indigenous epistemology—“ways of knowing”—differs fundamentally from Western ways of knowing (74). While this is relatively obvious to most readers, she further points out that Indigenous learning is not “parallel or perpendicular” (74); that is, Indigenous knowledge is not the Other or opposite of Western knowledge. Indigenous knowledge is not universal but instead must be grounded in local tribal cultures and worldviews. To critique an artwork based on Indigenous values, Ahtone examines materiality, metaphor and symbolism, and cultural reciprocity (74).

Joe Feddersen, whose glass sculpture is critiqued here, is Okanagan and an enrolled member of the Confederated Tribes of the Colville Reservation in Washington State. He earned his MFA at the University of Wisconsin-Madison and was a printmaker and basket weaver before moving into glass art. Using textures from Plateau textiles that symbolize aspects of the natural environment, Feddersen creates a dialogue about the shifting environment and the impact of human development in the Columbia Basin (Askren).

Collaborating with Tlingit artist Preston Singletary, Feddersen embarked on an Urban Indian series. In 2003, he created Parking Lot, a 14 inch tall blown and sandblasted glass sculpture. The translucent, milky-white surface carries the texture of …, which is overlaid with an olive green rim and structures of perpendicular black lines.

Ahtone sees the overall cylindrical form as being reminiscent of a “sally bag,” a flexible basket common throughout the Plateau region (76). The materiality of the piece juxtaposes the implied basket’s soft and pliable surface with the rigidity of glass. Navajo-Wasco artist and author Elizabeth Woody wrote, “Feddersen’s use of glass speaks of our human fragility” and of his choice of the color white, Woody writes “the shell of the basket with the ephemeral density of a cloud” (78).

Feddersen’s use of metaphor and symbolism is overt and deliberate. A metaphor directly substitutes on concept or object for another, while a symbol implies something else. The symbol might be a much more simplistic shorthand for the concept it references. The Plateau weaving designs that Feddersen has incorporating into his printmaking, weaving, and glasswork are extremely spare, abstract geometric designs, and yet they are symbolic and inspired by elements seen in daily life, such as snake tracks on the ground (Askren). The textured surface of Parking Lot has four repeating patterns of chevrons etched on its surface. Feddersen explains that the chevrons “are actually the designs for woman in Plateau culture, kind of like an hourglass design, kind of a winding vase” (79). He learned traditional symbolism from Okanagan weavers but an elder pointed out that the meanings of the widespread symbols change from community to communities (79). By using this symbol, Feddersen “invigorates it as a continued part of the cultural dialogue and… contemporizes the language in its usage” (79).

Vessels themselves are commonly allegories for women. In the Okanagan worldview, “woman is a living metaphor for the earth” (79). The art audience can automatically juxtapose this view with the European-American view of woman as earth, and therefore, ripe for domination. Dynamical tension is conjured between these two referenced worldviews. Okanagan oral history describes the earth “as a woman ‘who gives birth to life forms’” who was once a human being and is still alive (79-80). The etched basket surface suggested grass, which is seen as the hair of the living female earth (80).

Then the black lines on the vessel are diagrams for parking lots, invented in the late 1920s. Ahtone sees these as referencing contemporary migration patterns, which “form the basis of how most Americans relate to the earth—through a mediated system of transit routes…” (80).

Cultural reciprocity is the third lens in which Ahtone critiques Indigenous art and is “an act of gratitude by an artist for their culture heritage” (81). Feddersen is keenly aware of place-based culture, and he incorporates landmarks, or “vital signs,” such as electric lines and railroad tracks into his expression of evolving Okanagan culture (81). “By using the traditional signs,” Feddersen says, “we talk about what the meaning is and they become part of our visual vocabulary rather than something that is purely historical” (82).

Looking at the artwork from a strict formalist approach, that is, looking only at visual aesthetic qualities of the work—an approach espoused by mid-20th century art critics—would completely miss the content of a work such as Parking Lot. Feddersen deliberately uses contemporary imagery and symbols to bring his cultural traditions into the present. Ahtone’s critique brings the content forward in a manner that could be understood by Native and non-Native readers alike. Personally, I’m well acquainted with the mental wall that some non-Native art audiences reach when viewing Indigenous artwork. Facing the situation of having to understand the cultural contexts of hundreds of different tribes seems overwhelming to fully understand Native art; however, it’s not a matter of getting cultural background to then get the works’ content. The cultural background is much the works’ content, and further understanding the worldview enhances the audience’s understanding of being Human.

• heather ahtone, “Reading Beneath the Surface: Joe Feddersen’s Parking Lot,” Wicazo Sa Review, 27, no. 1 (Spring 2012), 73–84.
• Mique’l.Askren,  “Joe Feddersen,” IAIA Museum of Contemporary Native Arts: Vision Project. Web.

Travels to England: Indigenous Brilliance - Messengers - Emissaries of Peace

The King's Men, part of the Rollright Stones in Warwickshire

Three events conspired to lure me over to England for the first time. Two were contemporary Native American art shows. Indigenous Brilliance opened at the Highgate Institute in London, and Messengers at Rainmaker Art Gallery in Bristol. The third event was the Emissaries of Peace, a tour sponsored by Cherokee Nation Tourism, which retraced the travels of three Cherokee leaders who traveled to England 250 years ago to meet King George. These were sandwiched just between the Queen’s Jubilee and the London Olympics, making London crowded and tickets expensive — but the trip was well worth it.

I flew into Bristol the day of the opening of Messengers—not a smart move—and muddled through it with only three hours of sleep. Marcus Amerman was in town and assisted with developing the concept of the show. Joanne Prince, owner of Rainmaker Art Gallery, saw the idea of messengers, and artists as messengers, working on many different levels. 18 contemporary artists participated in the show. While most were painters, photographers, and printmakers, Melissa Cody (Navajo) showed weavings, Kelly Church (Odawa-Ojibwe) showed birchbark bitings, and Marcus Amerman (Choctaw) showed both representational and stylized pictorial beadwork. As a former bike messenger, I took the art show’s theme extremely literately and painting small portraits of a Pawnee motorcycle messenger and Navajo/Mestizo walking messenger from San Francisco. Edgar Heap of Birds (Cheyenne) was also present, as he was traveling through London and Paris on business.

Rainmaker Gallery in Bristol, England

Joanne rented a nearby textile workshop for artist talks the next day. Marcus presented about creativity and his inspirations in working in so many media— beadwork, painting, fashion design, installation, glass, and performance art. Edgar showed videos about his 2005 public art sculpture and installation, Wheel, at the Denver Art Museum, and his 2007 art installation, Most Serene Republics. I presented about Linda Lomahaftewa and my journey through the southeast visiting archaeological sites and the art we created based on our experienced. Sarah Sense (Chitimacha-Choctaw) could not make the trip after all, so I filled in for her and presented about ancient Andean art with an emphasis on textiles art.

Unbelievably, some people stay from the beginning to the end of the talks. Max Carocci, Programme Director of World Arts and Artefacts at the British Museum, traveled over to Bristol to attend the talks. He has worked with contemporary Kiowa artists and has written several books about Plains Indian art.

It was strange but refreshing to be able to comment frankly, through art and words, on the history of US injustice against indigenous Americans without encountering the usual layers of resistance or denial. People in the audience really listened and soaked up information. They also came to the table with a great deal of knowledge. Some of the lecture-goers had traveled to Mayan temples or to South America where they had firsthand experience with Cusco School paintings or the Nazca Lines.

Bristol is the home of Banksy and actively embraces street art. They have amazing graffiti and street murals, but unfortunately I didn’t get to explore much in my short stay. Thanks so much to Maria who let me stay in her house, Andy Pink who gave myself and other artists rides, Sophie who assists at the gallery and gave Marcus and I a tour of Bath—Jane Austen’s turf!— to Emelia, my fellow Cherokee-Swede who helped with the show, and especially to Joanne whose vision brought us all together.

A messenger friend from San Francisco, Joel, lived in the sleepy northern hamlet of the Priors Marston, so I got to explore centuries-old churches and millennia-old standing stones with him, his wife Becky, and daughter Aleisha. Incredibly beautiful country steeped in history. Thank you so much for your messengerosity! (That’s Howard Williams’ term for the inherent generosity that messengers share.)

Elija below work by Bryon Archuleta (Ohkay Owingeh)

In London, Cornelia “Elija” Vandenberg curated Indigenous Brilliance with Lyle Toledo Yazzie, a Navajo jeweler and collage artist. Elija is a human rights activist originally from the Netherlands, who has curated indigenous before and is keenly interested in showcasing political work. Lyle coordinated with many artists in the US and together they showcased over 70 works by 30 different artists. Bryon Archuleta (Ohkay Owingeh) came to the show’s opening and helped hang work the day after he arrived. No rest for the wicked! Elija reported that interest was high and the show at Highgate has seen a steady stream of visitors. Paul and Max from the British Museum attended. A non-native English artist, Gary Wells showed two pieces that I thought were great, combining vibrant, Celtic-inspired calligraphy with stencilwork featuring gunpowder. Many of the artists are activists in different causes, including Michael Horse, the actor and AIM member, who has championed ledger art for years. Osage artist Matt Jarvis brought images of the Oklahoma sky into the show with his digital photocollage, Meditation No. 1—Osage Meditations, and Steve Hapy (Anishinaabe) commented on diabetes in his visceral and highly textural piece, Diabetes, painting on an American flag.

Edward Chamberlain and Lyle Toledo Yazzie examine jewelry

Lyle had arranged with the British Museum to see their collection of contemporary southwest jewelry, and graciously let me tag along. We were please to see Hopi jeweler Michael Kabotie’s work in their collection, as well as a beautiful piece by Gail Bird (Santa Domingo) and Yazzie Johnson (Navajo)—who helped enable me to make the trip over! Jack Davy, Museum Assistant for North America, shows the items from the permanent collection and shared with us the internal database for the museum.

The North American room at the British Museum featured a survey of Canadian and United States indigenous art, from precontact, historical, modern, and contemporary, which included works by Bob Haozous and Diego Romero on permanent display. Their collection of avian and feline Hopewellian platform pipes is extraordinary. But their indigenous Mexican room is truly incredible, featuring elaborate turquoise mosaic sculptures, including the famous Aztec double-headed serpent. Believed to be a gift from Moctezuma II to the Spanish invader Hernán Cortés from 1519, the carved wooden serpent is covered with over 2000 pieces of turquoise, conch, and delicate crab shell.

Early 18th century Cherokee incised gourd

The next day, I returned to the British Museum to meet up with the Cherokee delegation. They arrived, joking and laughing more than anyone else I’d seen in the country (except maybe Marcus). The trip was arranged by Cherokee Nation Tourism, and everyone paid their own way. People from all three Cherokee tribes participated and they retraced the steps of Ostenaco, Standing Turkey (Cunne Shote), and Woyi. The Cherokee men were accompanied by Henry Timberlake and met with King George III. The 2012 group of Cherokees met with a wide range of officials and politicians (the Queen, presumably was too preoccupied with jubilee-ing it up to meet with our friends). I actually have no idea why I didn’t join this trip, since I met a bunch of interesting Cherokee people just in that short afternoon, including beadwork and storyteller Corey Still.

Jack Davy’s showed us several early 18th century Cherokee prints from the British Museum’s permanent collection, as well as a rare geometric beaded sash on stroud cloth with intact selvage, an incised gourd with a wooden stopper, and a double-woven rivercane basket with lid whose dyes were incredibly brilliant considering the basket was almost two centuries old. Afterwards, my cousin and Cherokee historian and genealogist extraordinaire Jack Baker; historian

Cherokee visitors presenting British Museum staff
with gifts of Cherokee pottery

and director of the Gilcrease Museum, Duane King; and writer and former curator at the IAIA museum, B. Lynne Harlan got to see rare, seldom published portraits of Richard Justice and Moses Price (both Cherokee) by William Hodges (1744-1797) at the Hunterian Royal College of Surgeons. Ironically, a graduate student was taking a survey about how comfortable people felt seeing human remains on display. She certainly got a mouthful from us, and she already knew about NAGPRA.

Other than that, I ate a million pasties, functioned (barely) without my phone or internet in my hotel, and finally located and paid homage to the house from Spaced. Thanks so much to everyone who made this trip possible and who I met on the way. I've heard that CN Tourism is a little done in from planning the England, but my sister pointed out, we can organize our own Cherokee trip through Wales!

London Calling 1762, America Meredith, acrylic, gel medium, five pound note, and map on panel, 2012

• Messengers art show at Rainmaker Gallery, Bristol, England
• Indigenous Brilliance on Facebook and ArtSlant
• Highgate Literary and Scientific Institution, founded 1839
• British Museum Native North America
• British Museum Cherokee collection
• Emissaries of Peace tour blog

Changing Hands CONNECTIONS: We Are Here, Monday, June 25th

Ironworker Cradleboard, Donald "Babe" Hemlock, maple, pine, ash, painter, fur, hide, instestines, 2011

Last in a series of cutting-edge contemporary Native art exhibitions, the newest Changing Hands exhibition will feature Eastern Woodlands art. The National Museum of the American Indian Heye center in New York City will host a series of lectures and discussions on Monday, June 25th. The event is free and open to the public.

 Changing Hands CONNECTIONS: We Are Here
Monday, June 25th: 11 AM–6 PM
This one-day program explores contemporary art from an indigenous perspective—aesthetics, ideas, contexts and contrasts—with leading artists, curators, and critical thinkers. Work by artists featured in We Are Here, Eiteljorg Contemporary Art Fellowship, and Changing Hands: Art Without Reservation, Part 3, the final exhibition in the groundbreaking series surveying cutting edge contemporary Native art, organized by the Museum of Arts and Design, will serve as the launching point for this continuing discourse.

CONNECTIONS: The Curators and the Artists, a Conversation
11 AM–12 noon
Diker Pavilion, Ground Floor
NMAI in New York
1 Bowling Green

Ellen Taubman, Curator, Changing Hands: Art Without Reservation (2002–present) Jennifer McNutt, Curator, Eiteljorg Fellowship for Contemporary Art (1999–present) Marie Watt, Artist and former Eiteljorg Fellow Barry Ace, Artist and Changing Hands participating artist

CONNECTIONS: Contemporary Native Art in Context, a Panel
3:30–6 PM
Theatre, Lower Level
Museum of Arts and Design
2 Columbus Circle

Artists: Jeffrey Gibson, Robert Houle, George Longfish, Kent Monkman, Sarah Sense, and Skawennati

Moderators: Kate Morris, Santa Clara University, Judith Rodenbeck, Sarah Lawrence College
Limited seating. Please RSVP by June 11th for both events at: ChangingHands3@madmuseum.org.
For more information, click here.

Messengers 2012 at Rainmaker Art Gallery, Bristol, UK

Messengers 2012 a group art show curated by Joanne Prince, an advocate for Native art and owner of Rainmaker Gallery in Bristol, England. The show features 18 contemporary Native American Indian artists from tribes across the continent.

As Prince says, "2012 is a pivotal year for the indigenous peoples of the Americas. As the current cycle of the Mayan calendar draws to a close, and in preparation for a new beginning when indigenous values will perhaps be more widely recognised and adopted, it is time to welcome the diverse and authentic messages and manifestations of contemporary Aboriginal American artists."

"My people will sleep for 100 years, and when they awake, it will be the artists who give them back their spirit." –Louis Riel, Métis revolutionary (Boyle and Racette 21).

Marcus Amerman (Choctaw), Sarah Sense (Chitimacha-Choctaw), Edgar Heap of Birds (Cheyenne), and myself will fly in especially to attend the opening and give talks, demonstrations, film screenings and discussions on Thursday June 14th.

Please contact the gallery for details:
call 0117 944 3101 or email jo@rainmakerart.co.uk.


Participating artists include:

• 

  Cupcake (Pawnee), America Meredith, 2012

  Tony Abeyta (Navajo)
• Marcus Amerman (Choctaw)
• Shonto Begay (Navajo)
• David Bradley (White Earth Ojibwe)
• Kelly Church (Grand Traverse Odawa-Ojibwe)
• Melissa Cody (Navajo)
• Edgar Heap of Birds (Cheynne)
• Frank Buffalo Hyde (Onondaga)
• Linda Lomahaftewa (Hopi-Choctaw)
• America Meredith (Cherokee Nation
• Chris Pappan (Kaw-Osage-Lakota
• Debra Yepa-Pappan (Jemez Pueblo
• Cara Romero (Chemehuevi)
• Diego Romero (Cochiti Pueblo)
• Mateo Romero (Cochiti Pueblo)
• Sarah Sense (Chitimacha-Choctaw)
• Ryan Singer (Navajo)
• Werewulf Micah Wesley (Kiowa-Muscogee Creek)

For more information, visit Rainmaker Art Gallery, online or at: 123 Coldharbour Road, Redland Bristol, BS6 7SN. Map.

• Boyle, John and Sherry Farrell Racette. Rielisms. Winnipeg, MB: Winnipeg Art Gallery, 2001.

Five Civilized Tribes Museum 2012 Competitive Art Show

Five Civilized Tribes Museum, Muskogee, Oklahoma. Wikimedia Commons.

Another competitive art show is coming up in Indian Country: the Five Civilized Tribes Competitive Art Show in Muskogee, Oklahoma. Their deadline for entries is June 22nd. It is free to enter, and the show is open to artists from federally- and state-recognized Cherokee, Chickasaw, Choctaw, Muscogee Creek, and Seminole tribes.

The eligible federally recognized tribes are: Alabama-Coushatta Tribes of Texas, Alabama-Quassarte Tribal Town, Cherokee Nation, Choctaw Nation of Oklahoma, Eastern Band of Cherokee Indians of North Carolina, Chickasaw Nation, Jena Band of Choctaw Indians, Kialegee Tribal Town, Miccosukee Tribe of Indians of Florida, Mississippi Band of Choctaw Indians, Muscogee Creek Nation, Poarch Band of Creek Indians of Alabama, Seminole Nation of Oklahoma, Seminole Tribe of Florida, Thlopthlocco Tribal Town, and United Keetoowah Band of Cherokee Indians in Oklahoma.

Artists can enter up to three pieces in the categories of painting, graphics, minaitures (art image must be 4"x4" or smaller), and sculpture. Information about the show will be posted on the museum's website.

You can download a copy of their entry form here.
Their main webpage is at www.fivetribes.org.

Five Civilized Tribes Museum, 1101 Honor Heights DriveMuskogee, OK 74401
Phone (918) 683-1701 • fax (918) 683-3070 •  email: 5tribesdirector@sbcglobal.net

Moundbuilders art show, May 25-June 3

Year of the Dragon 2012, monotype, Linda Lomahaftewa

Santa Fe, NM — Moundbuilders: Exploring the Ancient Southeastern Woodlands, a two-person art exhibit inspired by the journey artists Linda Lomahaftewa (Choctaw-Hopi) and America Meredith (Cherokee Nation) took through the Deep South to explore ancient Native American mound sites, opens with a reception on Friday, May 25, from 6 to 9 p.m. On display will be prints, paintings, photography and mixed media works inspired by the sites, smells and scenery observed on their trip. The exhibit takes place at Ahalenia Studios, known for its edgy, fun and important art exhibits, at 2889 Trades West, Unit E, off of Siler Road (note: street parking only). This event is free and open to the public. 

Thanks to the online funding platform Kickstarter, Lomahaftewa and Meredith took a two-week trip in 2011 to visit 15 mounds and other archaeological sites in the southeast, from Spiro Mounds in Oklahoma and to Echota Mounds in Georgia. Both artists were able to visit the Mother Mounds of their respective tribes: NanihWaiya, origin of the Choctaws, in Mississippi and Kituwah, mother mound of the Cherokee, in North Carolina.

Lomahaftewa, an instructor at the Institute of American Indian Arts and artist who has exhibited internationally, says, “It was the trip of a lifetime.” Painter, printmaker and arts educator Meredith concurs, but adds, “It was great to learn how contemporary tribal people maintain such a vibrant and living relationships to these mounds.”   

Mounds are colossal earthworks built by hand by Native Americans prior to European contact. They flourished during the Mississippian Era, a time period from 800 to 1400 AD characterized by city-building, hierarchal governments, intensive maize agriculture and a unique iconography that spanned from Oklahoma to Florida. Several of the sites Lomahaftewa and Meredith visited, such as the Poverty Point, date back much further. Poverty Point in Louisiana is a planned community marked by elaborate earthworks dating back to 1650 and 700 BC and predating agriculture.

Moundbuilders: Exploring the Ancient Southeastern Woodlands will be open to the public from 1 to 6 p.m. on Saturday, May 26, Sunday, May 27, Saturday, June 2 and Sunday, June 3. From May 28 through June 1 the show will be open by appointment only, which can be arranged by sending an email to ahalenia@yahoo.com.

For more information on the exhibit, including a blog from the journey, visit www.ahalenia.com/woodlands