Whether you see Indigenous beading as a traditional art form, a way of telling stories or a political act, the exhibit Radical Stitch/Perler, radicalement at the National Gallery of Canada will amaze you.
This extensive show includes beaded creations from more than 44 Canadian and American Indigenous artists of First Nations, Inuit and Métis heritage. The works offer superb craftsmanship and a splendid diversity of subject matter, format and approach.
The exhibition was organized and circulated by the MacKenzie Art Gallery in Regina and it presents both traditional and contemporary elements.
“Indigenous beading is one of our generation’s most exciting movements in contemporary art,” says John G. Hampton, executive director and CEO at the MacKenzie Art Gallery. “Rooted in cultural and territorial specificity, beadwork is especially relevant in this moment of cultural shift and divide. Artists are leading a path for honouring long-held wisdom alongside innovation, evolution and community.”
Many pieces are awe-inspiring, while others evoke strong emotions such as sadness, grief and anger. Thought-provoking or humorous beaded creations help to balance the tone of the exhibition. The pieces range from clothing and accessories to installations, videos and framed images.
Barry Ace, Healing Dance 2, 2013, National Gallery of Canada, Ottawa, Purchased 2017 (40795), © Barry Ace. Photo: NGC
Noticeably absent, however, are beaded jewelry and dream catchers, items that are often associated with Indigenous beadwork.
“Artists and artworks included in Radical Stitch provide a glimpse of what contemporary beadwork artists are making today, and it represents just the tip of the iceberg,” Michelle LaVallee, co-curator of Radical Stitch, and director of Indigenous ways and curatorial initiatives at the National Gallery of Canada, says. “The conscious decision to not include jewelry within the exhibition served some practical considerations of space constraints and recognized the vast number of artists creating earrings and necklaces. Inclusion would open a whole other area of focus and narrowing a selection down would be difficult, but this also provided an opportunity for gallery gift shops to bring in pieces for sale to help support artists further.”
Large-format pieces include magnificent ensembles, such as those in Barry Ace’s “Men and Women’s Regalia Suite.” The traditionally-inspired outfits include full-length garments with headpieces and boots embellished with beads. Ace is an Anishinaabe (Odawa)/ M’Chigeeng First Nation artist based in Ottawa.
There are many other wearable items, traditional and contemporary, including footwear ranging from moccasins and mukluks to stiletto boots, a jacket, flower-festooned dress, hat, headdress, mitts, bandolier bag and a sash. “The Sky Vest” by Métis artist Katherine Boyer eloquently portrays a prairie sky with swirling patterns of beads.
Taqralik Partridge, Apirsait, 2020, Indigenous Art Collection, Crown-Indigenous Relations and Northern Affairs Canada (501160 A-F), © Taqralik Partridge. Photo: Don Hall, Courtesy MacKenzie Art Gallery
A denim jacket embellished with traditional flower patterns and a series of moosehide “plates” honouring plants and animals reflects the Indigenous connection to nature, as does a purse decorated with a dove and flowers. Anishinaabe / Whitesand First Nation artist Justine Gustafson’s beaded bag, “Let’s Heal Together,” honours her late brother who was a powwow dancer, father and her twin. The bag is “medicine” for her parents. It displays a bear and plant images meaningful to his memory.
Marcus Amerman from the Choctaw Nation of Oklahoma created “The Beadmaker” portrait from glass beads and thread. Some of my favourite creations were an exceptional grouping of dazzling celestial images such as stars and galaxies on dark backgrounds by Gwich’in artist Margaret Nazon.
Inuit artists were well represented with a beaded map of Rankin Inlet by Lizzie Ittinuar, a traditional parka adornment, inkjet prints and a series of beautifully displayed hangings illustrating northern animals by Taqralik Partridge.
A poignant installation memorializes Judy Anderson’s brother Eugene, whom she lost to the Sixties Scoop. It features a row of porcupine quills beneath a curtain of shimmering beads with his name highlighted. The artist’s heritage is Nehiway/George Gordon First Nation.
Contemporary items include an amusing animation of dancing beads and a video showing beads spread amidst rocks and plants. Beaded representations of everyday objects such as an Amazon bag and shopping bag by artist Nico Williams, as well as toilet paper by Audie Murray provide tongue-in-cheek humour. Depictions of the COVID-19 virus by artist Ruth Cuthand, Sponge Bob, Kenneth Williams Jr., and miniature superhero sculptures by artists Alesia Poncho and Farlan Quetawki also add interest.
Nico Williams, Amazon Bag, 2022, Claridge Collection, Montreal, © Nico Williams. Photo: Paul Litherland
The cheekiest image is a cartoon-style stereotypical Indian chief with the word “Art” in a speech bubble by Kiowa artist Teri Greeves from New Mexico. A beaded cover of the book Half-Breed written by Métis artist and activist Maria Campbell, and beaded socks decorated with cigarettes by artist Audie Murray offer social commentary.
Assiniboine Cree artist Marcia Chickeness contributed decorative cradleboards titled “Rose Cradle Board” and “Residential School Baby.” Two poignant pieces from Anishinaabe artist Olivia Whetung are inkjet prints proclaiming the beaded messages “there’s not going to be anything left” and “protect me from what you want.”
Intriguing geometrical beaded sculptures from Anishinaabe artist Nico Williams are a wonder to behold. His “Spirit Berries” sculpture was woven from over 50,000 glass beads and depicts 20 stories of Indigenous life.
Teri Greeves, NDN Art, 2008, Collection of Ellen and Bill Taubman, © Teri Greeves. Photo: Don Hall, Courtesy MacKenzie Art Gallery
While most of the beads used in the creations were presumably glass, ceramic beads were used to create the mysterious sculpture “Untitled/Tobacco Barrel.” It was created by Nadia Myre, who is of Algonquin / Kitigan Zibi Anishinabeg heritage.
Because Radical Stitch/Perler, radicalement is a large exhibit and many pieces merit close inspection, I recommend a few hours to experience it. And like me, you may want to return for a second visit!
The show continues until Sept. 30 at the National Gallery of Canada. For more information, visit www.gallery.ca.
This travelling exhibit will continue at the Beaverbrook Art Gallery in Fredericton, N.B. from November 2024 to March 2025 and at the Eiteljorg Museum of American Indians and Western Art in Indianapolis, Indiana from April to August 2025.
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