We three Native American sisters & NYC artists, representing three Nations & both the Upper and Deep South, had a lovely, impromptu gathering down by the riverside of Hamilton Heights yesterday before the rains swept along the Hudson River. Surrounded by several circling & swooping hawks, we began a powerful conjure straight out of Hudson Canyon — look forward to us being involved with the recently-discovered Lenape burial mounds at 125th Street in Harlem, among other projects – A’ho* #KandiaCrazyHorse #TessReese #KimberlyRobison / #Karline #HawkMedicine
(Kandia Crazy Horse on the Hudson River, view of the Palisades, by Tess Reese, Choctaw)
(Karline x Kandia x Tess, by Kandia Crazy Horse)
(Stormy Sunday in Hudson Canyon by Kandia Crazy Horse)
Here’s a photo shot by one of the Jack Shainman Gallery’s gallerinas from yesterday: visual artist Carrie Mae Weems & (me) sonic artist Kandia Crazy Horse @ their space on W. 20th Street in Chelsea, for the opening of her new exhibits (see description below). Carrie & I used to share workspace way back many moons ago when I attended Hampshire College & she was teaching there. Nice to see how far our respective Creation has come & find now in her a fellow fan of my Afrohippie & bluegrass singer-songwriter heroine/inspiration Claudia Lennear — two vintage yet manipulated images, “Blue Notes,” of Claudia are featured in the show.
Via Jack Shainman Gallery PR: “Jack Shainman Gallery is pleased to announce Carrie Mae Weems’ first solo exhibition in New York City since the historic retrospective at the Guggenheim in 2014. Her influential career continues to address the rifts caused by race, class, and gender via imagery and text that is both sharply direct and beautifully poetic. This two-part exhibition highlights her recent investigations into performance, entertainment, and history.
Blue Notes (2014) and An Essay on Equivalents, See… (2011-2015) highlight figures on the periphery, bringing them front and center. The photographic series are paired with the enigmatic video installation Lincoln, Lonnie, and Me (2012), originally commissioned by the Mattress Factory, Pittsburgh, PA. The work rests on a 19th century optical trick, “Pepper’s ghost,” in which a strategically lit pane of glass reflects people and objects as dematerialized versions on stage. Weems employs this phantasmagoria to examine her own relationship to history and two individuals in particular: the 16th president of the United States and artist/activist Lonnie Graham, her sometime collaborator. Here history becomes theater, a succession of ghostly projections that draw us in to the strange ways in which representation seduces and manipulates, and how some are left out of history altogether, their apparitions left to haunt the expanses of Western culture.
The theme of performance continues with Scenes & Take (2016). Weems dons her black-robed muse persona—recognizable from the now iconic Roaming and Museums series—to stand before empty stage sets, documenting these encounters with vivid color photographs. The contemplative pose of the artist raises issues of who gets to be shown on screen; what do the fictional characters in television, theater, cinema, and visual art say about the cultural climate in which they are created, and how do these representations shift across time?
All the Boys (2016) responds to the recent killings of young African American men and suggests a darker reality of identity construction. Portraits of black men in hooded sweatshirts are matched with text panels. The written descriptions evoke police reports, underscoring how a demographic is all-too-often targeted and presumed guilty by a system plagued with prejudice. […]”
(Shot of “Blue Note – Claudia Lennear” by Kandia Crazy Horse – Originally from an early 1970s Playboy feature on the Laurel Canyon singer-songwriter)
Claudia Lennear had famous affairs with Mick Jagger of the Rolling Stones, when she toured with them in 1969 as an Ikette (part of the Ike & Tina Turner Revue), & later with David Bowie during his LA burnout/Sigma Sound Soul phase in Philly – the resulting songs “Brown Sugar,” Claudia’s response “Not At All,” & Bowie’s “Lady Grinning Soul.” I am personally far more interested in her singing with my most beloved Master of Space & Time Leon Russell (as part of the Shelter People) & Claudia Lennear’s attempt to have a bluegrass trio in the early ’70s with her fellow Mad Dogs & Englishmen Tour veteran singers Donna Washburn (once a member of my most beloved/influence Dillard & Clark) & Donna Weiss (later a songwriter of some note; she had songs covered by, among others, another Mad Dogs star & my heroine/influence as a Native Americana artist, Rita Coolidge – I just recently filed an essay about Ms. Coolidge & this lore, which will be published next year in a tome on Women Of Country). A friend & Southern sonic forebear of mine, the late Memphis pianist/producer icon Jim Dickinson (aka James Luther Dickinson of “Dixie-Fried” & “White Horses”+ producing Big Star’s Third fame) promised to give me a photo of their bluegrass trio, as he was tied to the project, but then he walked on. Still hope to see the images someday! Of course, Claudia is active again, post- Twenty Feet From Stardom rediscovery, and leading two bands — one bluegrass — today in Los Angeles & recording an album David Bowie had sought her out to collaborate on before his passing. Looking forward to catching ’em live whenever I next make it to the Coast. I always do enjoy spending time in LA, amongst the newer Laurel Canyon & Topanga Canyon rock ‘n roll hippie glitterati — although most of them are East Side gentrifiers, particularly in Echo Park & Downtown (with satellites in Eagle Rock & Mt. Washington & out in the environs of Joshua Tree & Bolinas & Nevada City); this is why I always keep dear Odetta (who my late Virginian Native American mother Anne Marie wished for me to model & pick guitar in her image) & Claudia Lennear as my history-making twang foremamas & legendary Ladies of the Canyon.
I still plan to do a major project around the sound+vision of Claudia Lennear, Leon Russell, Rita Coolidge & their mutual benefactors, Delaney and Bonnie (& their fabulous Friends) during 2017 – Stay tuned!
(Two #BlackRockCoalition & #AfroPunk veteran chroniclers & rock-n-rollers outside Jack Shainman Gallery, Chelsea: #KandiaCrazyHorse #NativeAmericana #CosmicCountry #singersongwriter & #RobFields #BoldAsLove #blogger & festival founder – #FollowMe on #Instagram: @kandiacrazyhorse)
(LADY OF (HUDSON) CANYON: After Carrie’s opening, upon The Highline in Chelsea, by a fan – More NYC shows upcoming! #LadiesOfTheCanyon)
Black&White images from The Native & The Refugee’s album of #DecolonizeThisMuseum, Decolonize This Place’s Anti-Columbus Day Tour of American Museum of Natural History on Monday 10/10/2016 – Photographs by Vane Terán
Howdy y’all of Indian Country & beyond! Although my trip to Standing Rock (departing yesterday) was postponed, I am coming off a whirlwind of three days’ activity about the Dakota Access Pipeline resistance & working to establish Indigenous Peoples Day in NYC and throughout Turtle Island. My benefit for our Standing Rock water protectors, the Sacred Water Medicine Show (AKA Water Is Life – Solidarity Concert), went very well Saturday night in TriBeCa & there are some possible future shows in store – stay tuned! Will be posting photographs & live footage soon.
Sunday, despite the rains, we were at Central Park across from Columbus Circle, commemorating our Ancestors & holding forth on the experiences and leadership of Native women @ the Indigenous Day of Remembrance; I sang one of my original songs, and participated in some ceremonies besides dancing. Photos to come…
Yesterday, I did another action with Decolonize This Place: the Anti-Columbus Day Tour of the American Museum of Natural History for their #DecolonizeThisMuseum event. Here below is the press thus far that contains parts of interviews I gave on the topics of Indigenous Peoples Day, the benefit, and why I am #StandingWithStandingRock as an indigenous revolutionary to the Guardian (UK), The Nation, & the paper that I used to write for/help edit, the Village Voice. Yes, we (mostly) covered the infamous statue of Theodore Roosevelt that fronts the entrance to the Museum, but we also spread some very important messages. This is a heady Indigenous Week of a lot of related events here in NYC, and you will see me out — after I finally get a disco nap! A’ho*
(Kandia Crazy Horse reading the Indigenous Peoples Day 2016 declaration, on the covered statue of Theodore Roosevelt with African & Native American men @ American Museum of Natural History NYC – Credit: Betty Yu)
Kandia Crazy Horse (left) & Amy from Decolonize This Place @ the opening launch in TriBeCa – Amongst the many great allies I have met up with during my engagement with the Dakota Access Pipeline resistance, I include Amy (above), Brotha Amir Husain & the rest of the gang from the new Manhattan artists & revolutionary action space, Decolonize This Place. They will be hosting ongoing actions and events at their space including my own Sacred Water Medicine Show on Saturday, October 8th, 2016 @ 7pm. Check them out on Facebook to see their scheduling. We really connected at the #NoDAPL rally in Washington Square Park in early September, and will continue to be united in the pipeline resistance amongst other pressing causes affecting Indian Country, Palestine, the Boogiedown Bronx, and beyond