近距离内射合集

Din茅 story quilter Susan Hudson is having her first dedicated museum exhibition at the Millicent Rogers Museum in Taos. The artist, a 2024 National Endowment for the Arts Heritage fellow, is showing her work alongside community members from the multigenerational Navajo Quilt Project in an exhibition co-curated by Millicent Rogers鈥� Claire Motsinger and independent curator Annie Drysdale. 鈥淨uilted Survivance: Susan Hudson and the Navajo Quilt Project鈥� will remain on view through Feb. 1.

鈥淭he title, 鈥楺uilted Survivance,鈥� deserves a little bit of explanation,鈥� Motsinger said. 鈥溾�楽urvivance鈥� was originally an academic term that specifically relates to the way that contemporary Indigenous people and artists look to the traumas that have been suffered by their ancestors, and yet, through that, thrive. 鈥� So, it鈥檚 survival as resistance.鈥�

Drysdale, who wrote her master鈥檚 thesis on Hudson鈥檚 quilts, said the idea of 鈥渟urvivance,鈥� as described by the scholar Gerald Vizenor (Minnesota Chippewa), perfectly suits Hudson鈥檚 work, which uses a non-Indigenous art form 鈥� quilting 鈥� to tell Indigenous stories.

鈥淚 had never seen an Indigenous contemporary artist who was willing to tell her ancestors鈥� stories about colonial violence in a way that was directly engaging a white audience as her primary demographic,鈥� Drysdale said. 鈥淪he鈥檚 unapologetic about it.鈥�

Many of Hudson鈥檚 quilts were inspired by Indigenous ledger art, an art form that began in the 19th century when old accounting ledgers were among the only sources of paper available to Indigenous artists. In those pieces, Hudson sews figures onto paragraphs of hand-stitched text to recreate the look of ledger art, as well as to create connections between words and images.

Ledger art and quilting were both practiced at government-run Indian boarding schools 鈥� a notorious 150-year project of forced assimilation, which officially lasted from 1819 to 1969, although some of these government-run schools continued to operate later.

鈥淨uilting was brought to the Din茅 community through the boarding schools,鈥� Motsinger said. 鈥淪o, many of the quilts are entitled 鈥楤oarding School-Style鈥� quilts. Even though many of us might recognize, oh, that鈥檚 a log cabin pattern, or a nine-patch or a star quilt, for that community, they are all boarding school-style quilts, because that鈥檚 where they entered into material culture for the Din茅.鈥�

Hudson鈥檚 mother attended a boarding school where she suffered abuse but also learned quilting.

鈥淗er mother is the one who taught Susan how to quilt,鈥� Drysdale said. 鈥淪o, there is a reclamation and transmutation of her mother鈥檚 trauma into her own triumph, and into a legacy for her children and grandchildren and great-great-great-grandchildren, who can see their families鈥� histories and narratives represented in important spaces like museums that are shared with international audiences.鈥�

Hudson鈥檚 eight-panel piece, titled 鈥淲hispers of Survivors,鈥� recounts the physical and sexual abuse of girls at boarding schools. Despite the heaviness of the narrative, Motsinger said the artist鈥檚 simplified style makes the material approachable, potentially even for families.

鈥淵ou鈥檙e not necessarily getting a lifelike, naturalistic depiction. I wouldn鈥檛 say there鈥檚 a softening of the historical narrative, but it allows you to enter into that historical narrative at the level that you are ready,鈥� Motsinger said. 鈥淪o I think it would depend, person to person, whether or not they feel it鈥檚 appropriate for their children. But, at the same time, there is a lot of color and texture and joy presented throughout the exhibition, as well 鈥� and extraordinary technical skill 鈥� so I think there鈥檚 a lot for everybody.鈥�

In addition to Hudson鈥檚 quilts, the exhibition includes a selection of pieces from the Navajo Quilt Project, a community-oriented narrative quilting project, which the artist co-founded in 2016.

鈥淪usan is very proud and confident in her work, but she was adamant that this exhibition not only show her work, but bring forward her community and those next generations,鈥� Drysdale said. 鈥淚t was important for her that she shared that spotlight with the Navajo Quilt Project, and be able to bring in quilts by artists as young as 7 and as old as 84, including the work that she created with her niece, Lily.鈥�

Motsinger described the opening as a 鈥渃omplete family event,鈥� with many of the Navajo Nation quilters and their families in attendance. The quilters themselves represent a range of lifestyles, genders and ages.

鈥淥ne piece that鈥檚 highlighted is by an elder who is particularly important in his community for the medicine that he provides, and he lives traditionally in a hogan without electricity,鈥� Motsinger said. 鈥淭he quilt itself was stitched by hand, by firelight.鈥�

The curators hope audiences will be drawn to the quilts for their beauty but will also learn something from them.

鈥淥n the surface, it鈥檚 a display full of color and texture and brightness and joy,鈥� Motsinger said, 鈥渂ut underneath, it also tells a story of survivance.鈥�