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Additional Artworks

From John & Geraldine Lilley Museum of Art

  1. Coyote Tales, No. 1 by Cara Romero, Image 2.

    Cara Romero

    Coyote Tales, No. 1, 2019

    Photograph

  2. Executive Order: Images of 1970s Corporate America by Susan Ressler, Image 1.

    Susan Ressler

    Executive Order: Images of 1970s Corporate America, 2018

    Aluminum Case

    11.625 x 14.625 in

  3. Atlantic Richfield Company (ARCO), from the Los Angeles Documentary Project by Susan Ressler, Image 2.

    Susan Ressler

    Atlantic Richfield Company (ARCO), from the Los Angeles Documentary Project, 2018

    Photograph

    11 x 14.125 in

  4. Executive Order: Images of 1970s Corporate America by Susan Ressler, Image 1.

    Susan Ressler

    Executive Order: Images of 1970s Corporate America, 2018

    Monograph

    7.25 x 10.625 in

  5. Only Tree (With Nest) by Emily Arthur, Image 1.

    Emily Arthur

    Only Tree (With Nest), 2018

    Bronze

    89 x 72 x 42 in

  6. Rumba #5 by David Einstein, Image 1.

    David Einstein

    Rumba #5, 2017

    Steel

    84 x 26 x 24 in

  7. Untitled by Unknown, Image 3.

    Unknown

    Untitled, 2017

    Print

    3.5 x 4.3125 in

  8. Rez Car #15 by Wendy Red Star, Image 1.

    Wendy Red Star

    Rez Car #15, 2017

    24 x 18 in

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About the artist

Frank Buffalo Hyde

Nez Perce / Onondaga Nation and Beaver Clan

b. 1974

Frank Buffalo Hyde grew up surrounded by traditional Native American art. He had artists on both sides of his family and his parents met at the Institute of American Indian Arts (IAIA). From an early age, however, Hyde knew he wanted to make his own mark. Born in Santa Fe and raised on his mother’s Onandaga reservation, Hyde saught to dismantle stereotypes of Native American culture with his work by taking imagery from pop culture, politics, films, television shows, etc. and overlaps the references to replicate what he refers to as “the collective unconsciousness of the 21st century. In his painting series “In-Appropriate,” Hyde paints satirical portraits of people wearing “jacked-up portrayal(s) of Native American imagery” that are at once funny and revolting. Hyde overtly defies the aesthetics of what people might think Native American art “should” look like, including subjects such as selfie-sticks, iPhones, cheerleaders and plates of buffalo wings. His narrative series I-Witness Culture explores life as a Native American in the digital age. Hyde’s work addresses contemporary America’s fear of the “other,” and the tendency to homogenize indigenous cultures to counter this fear (which ultimately materializes as racist mascots and costumes). Hyde’s work has been exhibited internationally, and he was artist-in-residence at the Museum of Contemporary Native Arts in Santa Fe.
Image of artist

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