|Teri Greeves addresses a packed house|
The New Mexico Museum of Art has been a longtime supporter of Indigenous artists. By showcasing Native art in mixed shows, the museum recontextualizes the work and exposes it to new audiences.
Greeves exhibited her large–scale bead mosaics on raw silk. These simultaneously feature contemporary individuals from Kiowa society and timeless figures from Kiowa oral history, such as Spider Woman, modeled after Greeves’ own mother, who cared for the Half Boys, modeled after Greeves’ sons.
Speaking to an attentive crowd of art lovers, Greeves explained the stories behind her works and further explained how she uses the beautiful aesthetics of beadwork—the colors, the reflective qualities of light—to lure audiences in who might not be otherwise willing to learn more about Kiowa, and by extensive Indigenous, histories, that contain experiences of genocide and ethnic cleansing.
When asked why she doesn’t include facial features in her work, Greeves responded that she didn’t care her beaded faces and wanted instead to convey information through body language in her figures—a slouch, a haughty posture.
Even though beads are considered a “traditional” artform today, they were cutting edge technology introduced from Europe in past centuries. “We incorporate new technologies as soon as we’re given it,” Greeves says. “That’s survival.”
Teri Greeves is represented by Jane Sauer Gallery.
For a review of “Storied Beads,” see ahalenia.blogspot.com.
Look for Teri Greeves’ profile of Navajo bead artist and fashion designer Orlando Dugi in the upcoming pilot issue of First American Art Magazine.