How does a Lakȟóta artist link dreams and artificial intelligence to imagine futures for her people? Experience five years of innovative installations in Kite and Wíhaŋble S’a Center: Dreaming with AI, on view at the IAIA Museum of Contemporary Native Arts in Santa Fe through July 13, 2025.
The IAIA exhibition – Suzanne Kite’s third solo exhibition this year across the United States – presents several installations that highlight her collaborative work that merges cutting-edge technology with Indigenous knowledge systems.
Download the exhibition catalogue here, and look at photos of the installation in our Flickr album.
2023 Wičhíŋčala Šakówiŋ (Seven Little Girls) and Wicháhpi Wóihanbleya (Dreamlike Star) use stones to translate Kite’s dreams into Lakhóta symbols.
In Iron Road and Dreamlike Star, stones and minerals (the building blocks of computers!) are arranged in Lakȟóta geometric language that suggest Lakȟóta quilt patterns. They’re placed atop a mirror to show resonance between the Earth and the cosmos (stars).
2023 Wicháhpi Wóihanbleya (Dreamlike Star) suggest that ancestor stars can point the way to Indigenous futures.
In this first section, inputs are taken from Kite’s dreams. Using AI, her dreams are translated into geometric Lakȟóta shapes created by designer Sadie Red Wing. Kite has figured out a way to bypass large-scale, commercial AI networks in favor of an AI model (run on her PC) that aligns more closely with Indigenous knowledge systems.
A digital embroidery machine has yards of embroidered black velvet flowing out of it. Oihanke Wanica (Infinity) is a collaboration with New York City’s Center for Art, Research and Alliances. As you examine the velvet, you’ll find geometric Lakȟóta shapes translated (using AI) from Kite’s dreams.
Nearby, there’s a comfortable lounge where you can watch Cosmologyscape, an interactive digital quilt – a public art project in which AI translates the public’s dreams into artist-created geometric symbols. It’s a collaboration with Alisha B. Wormsley, so the virtual community quilt manifests both African-American and Lakȟóta shapes.
2023 Oihanke Wanica (Infinity) – a digital embroidery machine stitches symbols representing dreams onto black velvet. Collaborator; Center for Art, Research and Alliances.
Lounge to watch Kite and Alisha B. Wormsley’s 2024 Cosmologyscape – Ai translates the public’s dreams into symbols for an ever-expanding digital quilt.
Installations in the other half of the exhibition shows collaborative projects that combine Indigenous knowledge systems and AI. Along one wall in the spectacular, tranquil gallery, you can explore a print and digital resource library on international research programs that integrate Indigenous knowledge systems into AI design.
Abundant Intelligences – a library and digital resource station for information on AI and futurism in contemporary Indigenous art.
Oneiris is a large interactive station through which visitors are invited to generate dream symbols that AI adds into a wall-sized display that looks like a portal to the cosmos. Inspired by the Lakȟóta concept of a Dream Language, she and her many technical collaborators genuinely bring dreams to life.
Oneiris – a collaborative project using advanced AI models to allow visitors to bring dreams to life.
Spashed across the final wall of the space, The Land Paints Itself is a video collaboration with her Wíhaŋble S’a Center for Indigenous AI at Bard – a lab that explores Indigenous advances in this science and art. Watch as AI generates dazzling colors and patterns as four Lakȟóta dream about Indigenous futures. Kite suggests that the evolving technology of dreams is a legitimate way for her nation to envision ways forward.
2025 The Land Paints Itself video that uses AI to illustrate Lakhóta people’s dreams about Indigenous futures.
Provocative, visionary, and affirmative – meet Kite herself in an interview with Artforum editor Tina Rivers Ryan in March 2025, when Kite’s work was featured on the cover.
With his traveling valise sitting in the center of the introductory gallery and a map nearby, you understand instantly that superstar artist Marsden Hartley was a man on the go.
Marsden Hartley: Adventurer in the Arts, on view at the New Mexico Museum of Art in Santa Fe through July 20, 2025, uses his personal possessions, works painted on two continents, and non-stop itinerary to demonstrate how landscape, life, and modern-art legends led him to create an epic body of work.
Hartley’s 1914 Berlin Series, No. 2 – flat, abstracted natural symbols. Courtesy: Jan T. and Marica Vilcek Collection.
Ready to travel – Hartley’s leather valise, address book and luggage tags. Courtesy: the artist’s estate; Bates College Museum of Art.
Looking around, there’s a wall of Maine mountainscapes he did in his thirties, a painting done just after Stieglitz sent him to Paris to soak up the vibes in Gertrude Stein’s salon, his accessories of rings and cigarette cases from Berlin in the 1920s, a Fauve-ist impression of Mount Saint-Victoire at Cezanne’s old stomping grounds in Aix, and photos of him and his dog at his Maine studio in the 1940s.
Hartley’s 1927 oil Mont Sainte-Victoire – painted in Aix, France where Cezanne once lived. Courtesy: Jan T. and Marica Vilcek Collection.
The exhibition merges Hartley’s paintings from the Jan T. and Marica Vilcek Collection with items donated by his favorite niece to Bates College in Maine – items he collected as he traveled; sketches and stuff sent to his neice; his camera, books, and snapshots; his studio paintbox, and other personal art. Together, the exhibition tells a story of innovation, personal journey, and relentless art making.
Hartley’s personal photos from his 1920s European adventures. Courtesy: Bates College Museum of Art
Hartley emerged from a hardscrabble childhood to see, feel, and experience art, nature, and transcendental spiritualism in New York, Boston, and Maine in 1890s.
He loved painting mountains and depicted water, earth and sky as a color-filled flat plane filled with jabbing brushstrokes – an approach that stuck with him throughout his life as he journeyed through New Mexico, the Alps, Mexico, and back in Maine.
Hartley’s 1907-08 oil Silence of High Noon – Midsummer painted in Stoneham Valley, Maine. Courtesy: Jan T. and Marica Vilcek Collection.
By the time he was in his early thirties, he had shown his landscapes to The Eight, knocked on Stieglitz’s gallery door, and got a one-man show (and a dealer for the next 20 years) at 291, the hottest modern art gallery in America.
Hartley’s 1910 Untitled (Maine Landscape)– water cascading down a rock face. Courtesy: Jan T. and Marica Vilcek Collection.
Getting to Europe in 1912, the color, cubism, and symbolism of the Blue Rider, Matisse, and Picasso made his head spin. His German friends introduced him to Kandinsky’s book Concerning the Spiritual in Art. He went out of his way to meet the man himself, and his painterly wheels turned.
The second gallery presents a large work from his Cosmic Cubism series – an airy, dreamy arrangement of signs, spiritual symbols, colors, and planes – along with drawings from his Amerika series, based loosely on Native American symbols and other abstract shapes. On view for only the second time in the United States, Schiff is a dazzling creation drawing signs and symbols from Native American and Egyptian cultures that spill out onto the painted frame.
Hartley’s 1912-1913 Portrait Arrangement, No. 2, created in Paris. Courtesy: Courtesy: Jan T. and Marica Vilcek Collection.
Schiff – part of the Amerika series Hartley painted in Germany. Courtesy: Vilcek Collection. April 5 – July 20, 2025
Up to this point, Hartley’s only encounter with indigenous American culture came from visits to ethnography museums in Paris and Berlin, but that would soon change. The advent of World War I tore apart the avant-garde, his social circles, and the direction of his work. Although these Berlin abstractions were long considered by late 20th century critics to be the high point of his career, Hartley abandoned this artistic path when forced to return to the United States, started over, kept wandering, and went back to landscapes and still lifes to discover his “American” expressionist vision.
Hartley’s 1934 Autumn Landscape, Dogtown – a colorful painting made near Gloucester, Maine. Courtesy: Jan T. and Marica Vilcek Collection.
The exhibition does not unfold chronologically. Instead, it shows how much friends, place, and spiritual encounters affected him.
Near the Berlin abstractions are highly expressionist 1930s rockscapes from Maine and pointy Alpine peaks from his return to Bavaria. There’s an example of his stripped-down 1916 “synthetic cubist” work in Provincetown, a 1917 New England still life painted in Bermuda when he was budget-bunking with Demuth, and a red-saturated still life that is a therapeutic tribute to his Nova Scotia friends who died at sea in the late Thirties.
Hartley’s 1942 White Sea Horse – part of a series with vivid backgrounds done in Maine. Courtesy: Jan T. and Marica Vilcek Collection
Hartley’s 1935-39 Roses for Seagulls that Lost Their Way –made in Bermuda to honor his Nova Scotia friends lost at sea. Courtesy: Jan T. and Marica Vilcek Collection.
In the middle of this gallery are vitrines with highly personal, everyday stuff from a painter who never settled down, stayed on the move, and always kept creating.
Here’s his camera, a scrapbook of personal photos, his 1923 published book of poetry, a few books from his library, and a little toy and pressed flowers sent to his niece.
Hartley’s photos from his 1917-1918 trip to Santa Fe. Courtesy: Bates College Museum of Art
Except for the Provincetown piece, all the surrounding paintings have direct, bold outlines, vivid colors, and vigorous, unglamorized visions – a fitting prelude to the last gallery of New Mexico landscapes.
Hartley’s 1919 El Santo painted in New Mexico.
The final gallery provides a panorama of landscapes, plus a dramatic image of a ridge of Mexican volcanoes. Hartley only spent part of
1918 in Taos and Santa Fe, where he traversed the hills, attended Pueblo ceremonies, and wrote about the indigenous culture. He also completed his El Santostill life with a black-on-black ceramic vase, a striped textile, and a Northern New Mexican retablo of a suffering Jesus.
But it might be a surprise to learn that all of the Southwest landscapes were painted in Berlin in the 1920s – fittingly called his New Mexico “recollections” – or in Mexico in the 1930s.
Floating clouds, expressive lines, and abstracted mountains – all from his vivid mind and recollections of spiritual and physical experiences long past. In the 21st century, increasing numbers of art historians and artists have looked to this phase of Hartley’s work for insight and inspiration – bold brushwork, expressive memory, and both a spiritual and emotional creative process.
Hartley’s 1923 oil New Mexico Recollection #14– painted in Berlin based upon memories of his year in the Southwest. Courtesy: Jan T. and Marica Vilcek Collection.
Hartley’s 1932 oil Lost Country – Petrified Sand Hills – a symbolic landscape inspired by mystical texts he discovered while painting in Mexico. Courtesy: Jan T. and Marica Vilcek Collection.
Toward the end of his life, the accolades, awards, honors, and retrospective exhibitions came his way, but Hartley remained the hardscrabble “painter of Maine,” barely interested in cashing the checks.
His niece, who preserved her uncle’s posessions and legacy after his death in 1943, took a train trip to New Mexico for the first time to see the landscapes that so inspired her uncle. Upon emerging from the train at the stop near Santa Fe, she looked up to take in the big, dramatic, cloud-filled sky. Thinking of all her uncle’s landscapes, she said, “Those clouds…I’d recognize them anywhere!”
If you see this show in Santa Fe, you will, too.
Louise Zelda Young’s 1943 photo Marsden Hartley’s Studio, Corea, Maine, where he worked in his final years. Courtesy: Bates College Museum of Art.
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