Opening-Day Panel: Dyani White Hawk: Love Language

This program will have ASL interpretation.

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For questions about accessibility, or to request additional accommodations, call 612-375-7564, or email access@walkerart.org.

heather ahtone, PhD, is Director of Curatorial Affairs at First Americans Museum (FAM) in Oklahoma City, Oklahoma. She is a citizen of the Chickasaw Nation and descendant of strong Choctaw women. She has worked in the Native arts community since 1993, and is recognized as a curator, arts writer, and researcher who has produced numerous exhibitions and related catalogues. While primarily a curator, she is known for innovatively working with Indigenous communities. customary cultural knowledge, and contemporary art. She serves on numerous advisory boards and in professional capacities that advocate on behalf of Indigenous knowledge, museum practice, and scholarship in the field, including current service on the American Art Journal editorial board, the Association of Art Museum Curators, and as past-President for the Native American Art Studies Association. She has undergraduate degrees in Creative Writing and Printmaking and completed her education with a doctoral degree in Interdisciplinary Studies (Art History, Anthropology, Native American Studies).

Keith BraveHeart is an Oglala Lakota independent curator, visual artist, and arts educator from the Pejuta Haka community (Medicine Root, Pine Ridge Indian Reservation, SD). BraveHeart received his BFA from the Institute of American Indian Arts (Santa Fe, NM) and MFA from the University of South Dakota (Vermillion, SD). His work within art and community is diverse and includes exhibition curation, arts & culture programing, and community-engaged arts initiatives. BraveHeart is committed to enriching and encouraging tribal arts continuums across the Northern Plains region, and expresses a sincere acknowledgment of being a “supportive relative.”

Candice Hopkins is a citizen of Carcross/Tagish First Nation and lives in Red Hook, New York. Her writing and curatorial practice explore the intersection of history, contemporary art, and Indigeneity. She is Executive Director of Forge Project, Taghkanic, New York, and Senior Curator for the 2019 and 2022 editions of the Toronto Biennial of Art. She was part of the curatorial team for the Canadian Pavilion at the 2019 Venice Biennale, featuring the work of the media art collective Isuma; and co-curator of exhibitions including the national traveling survey Art for New Understanding: Native Voices, 1950s to Now; SITElines.2018: Casa Tomada, SITE Santa Fe; documenta 14, Athens and Kassel; and Sakahàn: International Indigenous Art, National Gallery of Canada, Ottawa. Notable essays include “The Gilded Gaze: Wealth and Economies on the Colonial Frontier” in The documenta 14 Reader (2017); “Outlawed Social Life” in South as a State of Mind (2016); and “The Appropriation Debates (or The Gallows of History)” in Saturation: Race, Art, and the Circulation of Value (New Museum/MIT Press, 2020).

Joyce Tsai, PhD, joined the Clyfford Still Museum in 2021 as the second director in the institution’s history. She came from the University of Iowa, where she was both the Chief Curator of the Stanley Museum of Art and Associate Professor of Practice at the School of Art and Art History. Prior to her position at Iowa, she was an assistant professor of art history at the University of Florida, Gainesville. In addition to exhibitions she has curated, Tsai is also the author of László Moholy-Nagy: Painting after Photography (UC Press, 2018), winner of the Phillips Collection Book Prize. Her research has been supported with fellowships from the Fulbright Foundation, Dedalus Foundation, Center for Advanced Study in the Visual Arts, and the Phillips Collection.