Shape-shifter, beadwork innovator, pop-culture provocateur, fashion designer, and performance artist – it’s hard to know where to start when summarizing four-decades of work by a Native-American contemporary art superstar. But his first retrospective, Pathfinder: 40 Years of Marcus Amerman, does showcases his wide range of work in spectacular fashion. See it at the Wheelwright Museum of the American Indian in Santa Fe through January 11.
Marcus Amerman (Choctaw Nation of Oklahoma) is best known for his intricate beaded “paintings,” which take center stage.
Once Amerman developed his bead technique, which provided a photo-realist spin to a traditional “native” craft, he really felt that he could take on any subject as a contemporary artist – movie stars, historic characters, and cartoon images. The impact is electric.
Gazing across the main gallery, you see pop-culture images of “Indian” memes splashed across large canvases, cartoony self-portraits, fashion mannequins, glass sculptures, and photos by his wry collaborators. It’s a splendid mix of eye-dazzling color, technical mastery, and social commentary. Take a look at some of our favorites in our Flickr gallery.
Amerman garnered a lot of attention in the late 1980s and early 1990s for merging his beadwork into contemporary fashion. He cites his beaded leather motorcycle jacket with a beaded meme of bikini-clad Brooke Shields starting it all – a shock-worthy mix of leather toughness with one of the hottest young stars of the day. He took on custom commissions and leapt at the opportunity to participate in fashion shows. He was overjoyed to see his buckskin fashions featured in Elle.
It’s obvious that Amerman rejects staying put into a single category. He loves collecting vintage “Indian” objects and collaging art-world and historic references in all of his work. Check out those hubcaps!
Amerman’s alter ego, Buffalo Man, features prominently in the show, particularly in his collaborations with acclaimed photographer Cara Romero, where icons of Native culture insert themselves into American pop culture.
The gorgeous collaborations with glass artists from Amerman’s time at Pilchuk are a delight – some self-referential and others harkening back to his own culture’s ancestry. He claims that everything he makes is genuinely as “self portrait.”
It’s a joyful tribute to an artist who gives back, inspires others, and keeps asking pertinent questions about the role of art and artists in our society.
Enjoy this close-up look at some of Amerman’s masterful beadwork and hear why Amerman continues to create:
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