16th Annual Native American Art Exhibition
Arie Beston, a direct descendant of the Turtle Mountain band of Chippewa, explores pre- and post-contact Anishinaabe art forms such as parfleche, ledger art, basketry, and poetry in English and Anishinaabemowin. Their work delves into themes of two-spirited sexuality and cultural revitalization amid continued colonization.
Central to Arie Beston's artistic practice is the use of culturally significant materials. They incorporate antique ledger paper sourced from traditional Anishinaabe territories and utilize Buffalo rawhide, brain-tanned leather, and ceremonial medicine within their art pieces. These materials not only carry historical and spiritual significance but also connect their work deeply to Anishinaabe tradition and way of life.
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“Manidoo-makwa, bi-gizhaawenimishinaan” | 1930 Ledger from North Dakota, Watercolor Pencil, Archival Ink, Cedar, Charcoal, Mako-bimide.
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Blood Quantum | 1896 Ledger from North Dakota, Watercolor Pencil, Charcoal, Archival Ink, and Radiographic DNA Sequencing
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Plains Indian Parfleche Container | Brain-Tanned White Smoked Buckskin, Rawhide Sourced from Elk, and Mica Pigment
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Plains Indian Parfleche Container | Brain-Tanned White Smoked Buckskin, Rawhide Sourced from Elk, and Mica Pigment

“Manidoo-makwa, bi-gizhaawenimishinaan” | 1930 Ledger from North Dakota, Watercolor Pencil, Archival Ink, Cedar, Charcoal, Mako-bimide.
Blood Quantum | 1896 Ledger from North Dakota, Water Color Pencil, Charcoal, Archival Ink, and Radiographic DNA Sequencing

Plains Indian Parfleche Container | Brain-Tanned White Smoked Buckskin, Rawhide Sourced from Elk, and Mica Pigment

Plains Indian Parfleche Container | Brain-Tanned White Smoked Buckskin, Rawhide Sourced from Elk, and Mica Pigment