Paris/Ojibwa is the latest multimedia installation by world-renowned Anishinabeg (Ojibwa)  artist Robert Houle. The installation is a time portal to 1845, when a troupe of Ojibwa dancers lead by a man named Maungwudaus travelled to Paris to dance for King Louis-Phillipe of France and a public of 4,000 French ladies and gentlemen. They were part of American painter George Catlin’s “Indian Museum,”  presented as living exhibits of an ancient culture.
The Turtle/Television Island Project features the work of two contemporary aboriginal artists: James Luna, of the Puyoukitchum (Luiseño) nation, who is based in La Jolla, California; and ssipsis, of the Penobscot nation of Indian Island, Maine. Both of these artists use contemporary media to critically reflect on and repair the often static ways in which Native Americans are portrayed by the white/Western world.
In a conversation with Lucy Lippard in 1985, Suzanne Lacy spoke of the history of women’s labor unions making use of communal activities such as pageants, dinner parties, gift exchanges and birthday celebrations as a means to build solidarity amongst women. Art and activism have a longstanding overlapping history. In the mid-80s, Suzanne Lacy began retroactively framing the large-scale performances she had been undertaking since the early 70s within the tradition of pageantry. Pageants in the early part of the 20th century were a deeply community-oriented and non-commercial form of entertainment: they were often massive productions involving a cast of hundreds of volunteers in performances of theatre, dance and music.