installation

“Wopila | Lineage II” (2023), acrylic, glass beads, synthetic sinew, and thread on aluminum panel, 96 x 120 inches. Gochman Family Collection. Photo by Rik Sferra. All images courtesy of Alexander Gray Associates, New York, and Bockley Gallery, Minneapolis, shared with permission

Lakota and Western Art History Converge in Dyani White Hawk’s Vibrant Works

October 1, 2025

Art

Kate Mothes

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Throughout history, those who wield the most power or resources are typically the ones whose stories are represented in textbooks, passed down through generations, and etched into our collective consciousness. Without intentional effort, it can be difficult to hear more than a single narrative.

In art history, the reality is much the same. The canon has always privileged white male artists, from titans of the Renaissance like Michelangelo to bad-boy American Modernists like Jackson Pollock. The foundations of 19th-century American landscape painting, for example, are inextricable from the belief in Manifest Destiny, as the American government violently expanded westward. And Western painting and sculpture have historically reigned supreme in the market-driven hallows of galleries and auction houses. But what of the incredible breadth of—namely Indigenous—art forms that have long been overlooked?

“Visiting” (2024), acrylic, glass beads, thread, and synthetic sinew on aluminum panel with a quartz base, 120 x 15.5 x 15.5 inches (base 5 x 24 x 24 inches). Collection of the Denver Art Museum. Photo by Rik Sferra

For Sičáŋǧu Lakota artist Dyani White Hawk, the construction of American art history lies at the core of her multidisciplinary practice. “She lays bare the exclusionary hierarchies that have long governed cultural legitimacy, authority, value, and visibility,” says a joint statement from Alexander Gray Associates and Bockley Gallery. “In this light, White Hawk reframes Indigenous art and Western abstraction as inseparable practices—linked by a shared history that dominant narratives have labored to separate and obscure.”

Pablo Picasso is credited with the saying, “Good artists copy, great artists steal.” Seminal paintings like “Les Demoiselles d’Avignon” and others created in the early 1900s would not exist if it were not for his fascination with African masks. White Hawk draws a similar parallel between the 20th-century Color Field and Minimalism movements to highlight the influence of Native American art forms in the evolution of these styles. She prompts viewers to consider how these notions shape our aesthetic perceptions and judgment while also considering the role of cultural memory and community.

White Hawk’s work spans painting, sculpture, photography, performance, and installations. Alongside oil and acrylic paint, she incorporates materials commonly used in Lakota art forms, like beads, porcupine quills, and buckskin.

“I strive to create honest, inclusive works that draw from the breadth of my life experiences,” White Hawk says in a statement, merging influences from Native and non-Native, urban, academic, and cultural education systems. She continues: “This allows me to start from center, deepening my own understanding of the intricacies of self and culture, correlations between personal and national history, and Indigenous and mainstream art histories.”

“Nourish” (2024), ceramic tile installation of handmade tiles by Mercury Mosaics, 174 x 369 1/2 inches. Collection of the Whitney Museum of American Art, New York; purchase, with funds from the Whitney Acquisition Fund 2024.13

Mirroring the meditative labor and incredible attention to detail required to create traditional Lakota artworks—from elaborately beaded garments to abstract buckskin paintings—White Hawk creates energetic installations that are bold and confrontational. Vibrant geometric patterns are direct and visceral in a way that “unsettles the categories of Eurocentric art history,” the galleries say.

White Hawk notes that her mixed-media canvases honor “the importance of the contributions of Lakota women and Indigenous artists to our national artistic history…as well as the ways in which Indigenous artists helped shape the evolution of the practices of Western artists who were inspired by their work.”

“Nourish,” an installation that spans nearly 31 feet wide and 14.5 feet tall, comprises thousands of handmade ceramic tiles that visually reference Lakota beadwork and quillwork. Permanently installed at the Whitney Museum of American Art in New York, the piece enters into a dialogue with the history of American Modernism through painters such as Marsden Hartley and Pollock, who are credited as trailblazers of American abstraction and yet were indelibly influenced by Native American art.

Detail of “Visiting.” Collection of the Denver Art Museum. Photo by Rik Sferra

“At its core, White Hawk’s practice is sustained by ancestral respect and guided by value systems that center relationality and care for all life,” the galleries say. “By addressing inequities affecting Native communities, she creates opportunities for cross-cultural connection and prompts a critical examination of how artistic and national histories have been constructed. Her work invites viewers to evaluate current societal value systems and their capacity to support equitable futures.”

Minneapolis-based Bockley Gallery, which has represented White Hawk for more than a decade, has recently announced co-representation of the artist with New York City-based Alexander Gray Associates, where she’ll present a solo exhibition in fall 2026. If you’re in Minneapolis, Love Language opens on October 18 at the Walker Art Center and continues through February 15. The show then travels to Remai Modern in Saskatoon, Saskatchewan, where it will be on view from April 25 to September 27, 2026. See more on White Hawk’s website.

Installation view of ‘Whitney Biennial 2022: Quiet as It’s Kept (Whitney Museum of American Art, New York, April 6 to September 5, 2022). “Wopila | Lineage” (2022), acrylic, glass beads, and synthetic sinew on aluminum panel, 96 9/16 x 168 3/8 inches. Photo by Ron Amstutz

“Carry IV” (2024), buckskin, synthetic sinew and thread, glass beads, brass sequins, copper vessel, copper ladle, and acrylic paint, 123 x 12 x 10 inches. Collection of the Baltimore Museum of Art. Photo by Rik Sferra

Detail of “Carry IV.” Collection of the Baltimore Museum of Art. Photo by Rik Sferra

Installation view of “I Am Your Relative” (2020) in ‘Sharing the Same Breath,’ John Michael Kohler Arts Center, Sheboygan, WI, 2023. Courtesy of the John Michael Kohler Arts Center

Detail of “Visiting.” Collection of the Denver Art Museum. Photo by Rik Sferra

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