“Indigenous Identities: Here, Now & Always": Interview with Neal Ambrose-Smith

“Indigenous Identities: Here, Now & Always,” on exhibition at Rutgers University’s Zimmerli Art Museum now through December 21, 2025, was curated by the late artist Jaune Quick-too-See Smith (January 15, 1940-January 24, 2025). Phoebe Farris interviewed artist Neal Ambrose-Smith (Descendant of Confederate Salish and Kootenai Nation of Montana) in relation to the exhibit.

Phoebe Farris: First of all, my heartfelt condolences on the recent transition of your mom. And many thanks for giving the press tour and for your engaging panel discussion/performance with fellow artist John Hitchcock during the exhibition’s opening weekend. How do you think Jaune’s legacy as an artist/curator/activist will impact future generations of Native American creatives?

Neal Ambrose-Smith: Sometimes people know the impact of their Elders, but I think our community is still building their history and most of us are connected to it. We have a history of storytelling and speaking about the generations. Jaune is an important element in Native American art history and also the greater Native community’s history.

PF: After the exhibition closes in December 2025, are there plans for a future site where researchers and the general public can further engage with Jaune’s work and legacy?

NAS: We are actively working on the Jaune Quick-to-See Smith Foundation and hopefully a library and research center/residency. As you know, it takes years to elevate a foundation to that level, but we have vision.

“Abstract in Your Home” by Neal Ambrose-Smith, (Descendant of the Confederated Salish and Kootenai Nation), neon mixed media, 2009.
 

PF: Can you share with our readers the symbolism, artistic intent, and some of the technical aspects of your sculpture, “Abstract in Your Home,” that is in the exhibition?

NAS: The triangle has always been a symbol of “home” or “house” for me, and converting Pier Paolo’s piece into the obvious seemed fitting. I can also say that the piece connects us all, all cultures in the idea of “dwelling.” We dwell in the kitchen and we dwell in the living room. These are homes, and that’s abstract.

PF: In addition to “Indigenous Identities,” the Zimmerli Art Museum at Rutgers University also features some of Jaune’s work in the exhibit, “Hope with Humor: Works by Jaune Quick-too-See Smith from the Collection.” Since humor is also intrinsic in much of your work, please share how you and Jaune both engage humor to address serious issues.

NAS: Jaune used the humor tool to share an important, serious subject, and she also has addressed serious topics head-on. I generally use the humor tool in the service of a broader reach, although I remember a piece I made about Coyote jumping through doors to try to solve the problem that President [George W.] Bush created in Iraq. I lined the border with text saying, “war for sale, get on the business end of this going out of business sale, no reasonable offer refused…” And someone was so offended by my piece, yelling at me how war isn’t a laughing matter. Sometimes even humor doesn’t help everyone. But I will still make my work how I make it, just like my mom did.