National Museum of the American Indian

Learn more about Native women in the United States Armed Forces, past and present, with our exhibition "Why We Serve," available online. https://lnkd.in/dS4pF-3

Two gowns worn by Oscar-nominated actor Lily Gladstone (Siksikaitsitapi [Blackfeet]/Nimiipuu [Nez Perce]) are now on display at our National Museum of the American Indian! Gladstone, who was the first Native American nominated for Best Actress for her work in “Killers of the Flower Moon” (2023) wore the dresses to the 96th Academy Awards and the Vanity Fair Oscars party in 2024. Both gowns were custom designed by Gucci and Indigenous artist Joe Big Mountain (Mohawk/Cree/Comanche) of Ironhorse Quillwork. The gowns marked the first Oscars collaboration between an Indigenous artist and a luxury fashion brand. Both designs feature porcupine quillwork, an intricate Native design art that is unique to North America. For these dresses, Big Mountain used zigzag stitch and wrap quillwork—two of the hundreds of quillwork techniques used by Indigenous communities across the continent. Quilling techniques are passed down within families and communities. To protect this Indigenous knowledge, the quillwork was done exclusively by Big Mountain and his team of Native artists. Gladstone’s midnight blue velvet gown features a total of 216 quillwork petals that sparkle across the gown’s cape. “I can literally feel the love poured into each quill and bead—the dress is alive with it,” said the actor. Quilled rosettes and blue mountain motifs accent the quillwork neckline of Gladstone’s black corseted dress. “Lily Gladstone has made it her hallmark to showcase Native designers at star-studded events like the Oscars,” said curator Anya Montiel (Mexican, Tohono O’odham descent). “We are thrilled to be able to share these amazing works of art with our visitors.” See “Making a Statement” at our National Museum of the American Indian through March 2026. Credit: Gladstone in the midnight blue velvet gown at the 96th Academy Awards. Photo by Mike Coppola/Getty Images Gladstone in the black corseted dress at the Vanity Fair Oscars Party. Photo by Doug Peters/PA Images via Getty Images

#HiringAlert We're in search of an experienced and highly motivated candidate to fill the position of Museum Curator (Art) for an initial term of one year, part-time. The selected candidate will conduct research, support the development and creation of publications and exhibitions, examine collections for conservation needs, catalog items, and engage with our visitors through gallery talks, tours, and email. Learn more about the qualifications and be sure to apply before Saturday, March 15, 2025. https://lnkd.in/gVZ9n97z #MuseumJobs #SmithsonianJobs #MuseumCurator

“I can only imagine the circumstances Sitmelelene lived and worked in. I cry for her family, living in the midst of irreversible destruction. [...] She remained true to herself as an artist perpetuating a glorious tradition. Sitmelelene sings to me a song of resilience through her basket. She lives.”—Nicolasa I. Sandoval (Santa Ynez Band of Chumash Indians) Educator, University of California, Santa Barbara This basket by Juana Basilia Sitmelelene (Chumash), created between 1815–1822 at Mission San Buenaventura, incorporates Spanish coin designs with traditional Chumash basketry. Sitmelelene was born in her mother’s Chumash village of Sumuawawa, located in the Santa Monica Mountains. She grew up learning the skills and methods of basket weaving. Mission records show that she and her husband arrived at Mission San Buenaventura in 1804 when their newborn daughter was baptized. Native Californian basketry expert Dr. Yve Chavez (Tongva) writes, “Spain dominated California for nearly seven decades and left a lasting impact on the first peoples of California, but Native weavers managed to keep their traditions alive. At the missions, weavers preserved their art form that they conducted in the privacy of Indian rancherias. California Native basketry survived the mission period and continues to thrive today." Learn more about "California Native American Survival and Resilience During the Mission Period" now available from our education initiative Native Knowledge 360° (NK360°). This resource is available in both in 4th grade (https://s.si.edu/4hIwASL) and Middle and High School editions (https://s.si.edu/4gRFcFx). Students will build critical thinking and foundational skills to analyze primary and secondary sources, maps, images, background history, and objects from our collection to answer the question, "Native Americans of California during the mission period: How did Native people resist and persist in the face of extreme adversity?" __ Juana Basilia Sitmelelene (Chumash, 1782–1838), coin basket, ca. 1815–1822. Mission San Buenaventura, California. Sumac, juncus textilis, mud dye. 9 x 48 cm. Gift of Mrs. Willis Rice in memory of Dr. Arthur Horton Cleveland. 23/132 #Education #NativeCalifornia #NK360

See how Santana Walker (Squamish Nation) was inspired by Tlingit glass artist Preston Singletary's "Safe Journey" to create a uniquely Indigenous nail design. Thanks for following along on Santana's Smithsonian experience! Catch up on previous episodes and stay tuned for the final installments later this month: https://s.si.edu/3QhPfZl

Santana Walker (Squamish Nation) shares how her grandmother encouraged her to embrace her culture through her work as a nail artist and entrepreneur. Stay tuned to see the final nail design inspired by her visit to the Smithsonian!

Follow along as Santana Walker (Squamish Nation) explores the Smithsonian. Stay tuned for more!

#OpportunityAlert: Are you interested in gaining hands-on experience in museum conservation? Our Conservation office at the National Museum of the American Indian helps steward one of the most extensive collections of Native American cultural heritage in the world—approximately 825,000 items, representing over 12,000 years of history and more than 1,200 Indigenous cultures throughout the Americas. Join our team as an intern or fellow to expand your skills, network with other professionals, and gain valuable hands-on experience. https://s.si.edu/3WOrDiN Each fall, we offer a nine-month internship ideal for aspiring conservators and those in allied fields, such as collections care, registration, curatorial, and archives, as well as artists, makers, or mountmakers, wanting to expand their conservation experience. Deadline to apply: 5 PM ET on Friday, March 14, 2025 We also offer a two-year fellowship each fall to support progressive thinking in conservation, collections care and stewardship and a strong interest in collaborative conservation. It is intended for someone who will advance in the field in ways that serve and benefit Indigenous communities. The fellowship is holistic in its approach, expanding beyond the idea of conservation as treatment focused. Deadline to apply: 5 PM ET on Friday, Feb. 28, 2025 Learn more about the requirements and start your application. https://s.si.edu/3WOrDiN #Museums #Internship #Fellowship #Conservation

“Part of what I do in my work is using my work as a platform for my beliefs. Can I tell a story? Can I make it a good story? Can I add some humor to it? Can I get your attention? Those are all things that I try to do with my artwork. It's not always successful, but it's important to speak up when you believe in something so strongly, and I passionately believe in the life that I live. I think that my work will probably go on being political in some way.”—Jaune Quick-to-See Smith (1940-2025) Today we remember artist Jaune Quick-to-See Smith, a member of the Confederated Salish and Kootenai Tribes and of Flathead Salish, Cree, and Shoshone ancestry, who died this week at the age of 85. In the days since, many have shared her impact both in and out of the art world. Smith centered Indigenous perspectives in her work, confronting issues of identity, history, and representation in a way that was both revolutionary and deeply personal. “To say that Jaune was an important and significant artist is merely scratching the surface of her life, career, contributions, and community work. Her impact and legacy are immeasurable. We met in 2002 when I was a curatorial research assistant at the National of the Museum American Indian for the exhibition “Continuum: 12 Artists,” and our relationship grew from there. She supported my writing and curatorial projects and invited me to write for her projects as well. I received such encouraging messages from her. I am honored that Jaune was my mentor and friend for more than 20 years,” shares curator Anya Montiel (Mestiza/Tohono O'odham descent). Smith described herself as a cultural arts worker and activist. Smith’s art, often layered with images, paint, and text, addresses the complexity of heritage, identity, and history and challenges us with her sharp sense of humor. While a graduate student at the University of New Mexico in the 1970s, she founded the Grey Canyon group of Native American contemporary artists, who exhibited their work locally and internationally. Smith championed young Indigenous artists, including them in significant contemporary Native American art exhibitions in the 1980s and 1990s until as recently as 2024. Smithsonian American Art Museum

#DeadlineAlert: The second annual application cycle for the museum's Native American Collections Fellowship and Native Arts Fellowship closes THIS Friday, January 31, 2025. Are you a community researcher, scholar, or artist in need of access to a world-class collection of Native American arts and related staff and resources to support your work? Apply now! These programs support community researchers, scholars, and artists to pursue research projects that utilize the collections and resources of the National Museum of the American Indian. For more details, please visit https://s.si.edu/4bYeRnP.