Issues Background
Vol. 20 No. 4
Winter 2019
Cover of NMAI Winter 2019

On the Cover

In the sculpture “The Look of Confi dence Was Apparent (As He Was About to Strike),” an Inuit hunter holds a “kakivak,” a type of harpoon, with a shaft made of moose bone and a silver trident tip. His knife in his hand is a replica of the full-size, traditional knives his grandfather taught him how to make. Looking at the hunter’s face, “you have that feeling that he knew he was going to get it,” says sculptor Michael Massie (Labrador Inuit/Métis/Scottish). The piece is on display in the ongoing exhibition “Ancestral Connections” at the National Museum of the American Indian in New York.

“The Look of Confi dence Was Apparent (As He Was About to Strike),” 2004, Michael Massie (Labrador Inuit/Métis/Scottish). Made of limestone, cocobolo wood, walrus ivory, moose bone and sinew. 15.5" x 10.4" x 5.8", gift of R.E. Mansfi eld to NMAI, 2006. 26/5812


Basket hat
A new NMAI exhibition in New York brings together contemporary Native artworks with past influences spanning the Western Hemisphere. The pieces vary greatly in their forms and origins, yet their creators share a common thread: all take inspiration from their Indigenous roots.
A basket series newly acquired by the NMAI pays tribute to the suffering of students at the Carlisle Indian Industrial School and to the unique talent of the late Shan Goshorn.
Joy Harjo’s unique poetry and music have broken ground and helped revitalize an interest in these Native arts. This year, she became the first American Indian to be named Poet Laureate of the United States.
This graphic novel tells the story of a lesser-known atrocity in American colonial history, the massacre of the Conestoga tribe of Pennsylvania during the “Paxton Boys” rebellion.
Overcoming rear-guard resistance, American Indian writers and their allies are blasting a place in the speculative genre for an Indigenous worldview and discovering surprising affinities.