“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 Raven Manygoats (Diné), assistant curator of the exhibition.
Phoebe Farris: As you already know, there are not many full time Native curators working in major museums or as guest curators for special exhibitions. What are some of the educational and career experiences that prepared you to be the curator for “Hope with Humor: Works by Jaune Quick-too-See Smith” and for assisting on the curation of “Indigenous Identities”?
Raven Manygoats: I have been serving as a Graduate Assistant in the Art of the Americas at the Zimmerli Art Museum at Rutgers for two-and-a-half years. Throughout that time, I have continued my studies as a Ph.D. student in History at Rutgers. My dissertation focuses on the role of women in the Red Power Movement and draws on the histories of women from both urban and rural reservation settings throughout the United States. My background as a historian and interest in Native American history has helped to inform my work at the Zimmerli.
PF: How did you choose the title for the exhibit and the works to include?
RM: “Hope with Humor” includes all the prints and paintings by Jaune Quick-to-See Smith that are in the Zimmerli’s permanent collection. While looking at the artwork, I noticed the recurring theme of humor in these particular works. While doing research into her art practice, I came across a quote from Jaune: “Perhaps the preeminent issue in the Indian world is plain survival. Beyond that it means retaining our own cultures, governments, languages, religions, and ceremonies…I am telling stories about hope with humor. We wouldn’t be here if we didn’t have hope.” I have always been moved by how she celebrates Indigenous survival. She recognized how Indigenous joy and humor are ways to cope and continue on through the violences of settler colonialism.
PF: Two of my favorite works in “Hope with Humor” are “Indian Men Wear Shirts and Ties” and “Indian People Wear Shoes and Socks.” What do you think was Jaune’s main point in focusing on these clothing items and their titles?
RM: With “Indian Men Wear Shirts and Ties” and “Indian People Wear Shoes and Socks,” Jaune appears to be emphasizing the juxtapositions of modern clothing styles and traditional or historic Native American ways of dress. These more traditional clothes can still be worn for ceremonies or other cultural events. I think both pieces are an homage to Native Americans who seemingly live in two different worlds—that of the dominant culture, and a way of life that still celebrates tradition.
PF: Another work of Jaune’s that I have seen over the years that resonated with me is “Celebrate 40,000 Years.” The wall text explains the significance of the rabbit/trickster figures and the timeline. Is there anything else you would like to add?
RM: Another thing that I enjoy about that particular piece is how large it is. The piece is 82 ½ by 57 ½ inches. It’s a print that a viewer can not ignore. The viewer has to confront the fact that American art long predates the arrival of Europeans to North America.
PF: You also assisted on the curating of “Indigenous Identities.” How did that experience compare with curating “Hope with Humor”?
RM: It was an honor to assist Jaune in the organizing of “Indigenous Identities.” I learned a lot from Jaune’s curatorial process and the well of knowledge she possessed. “Indigenous Identities” was such a landmark exhibition, with 97 artists participating. The sheer scope and diversity of the exhibition were very different from working on “Hope with Humor.” “Indigenous Identities” required many conversations with artists and lenders and learning from these individuals.
PF: Do you have any advice for young Native Americans interested in careers as art historians and/or curators?
RM: The best thing you can do is to continue an education in whatever interests you and to be open to any opportunities that might come up. I would also say to keep learning from your community, too. Elders in every community have so much to teach. Education is not exclusive to universities.
PF: There are artists in the show named Raven Chacon (Dine’/Chicano), Raven Half Moon (Dine’), and you, Raven Manygoats (Dine’). Ravens are symbolic in several Indigenous traditions, but seeing the name three times in one exhibit was somewhat unique.
RM: I also loved seeing so many Ravens in the exhibition! There is also a great piece by Corwin Clairmont called “Raven Speaks to His Friends” in the exhibition as well.
Read interviews with artists:
- “Indigenous Identities: Here, Now & Always”
- John Hitchcock (Comanche, Kiowa, and Northern European Ancestry)
- Neal Ambrose-Smith (Descendant of Confederate Salish and Kootenai Nation of Montana)
- Norman Akers (Citizen of the Osage Nation)
Phoebe Mills Farris, Ph.D. (Powhatan-Pamunkey) is a Purdue University Professor emerita, photographer, and freelance art critic.
Top image: Artwork by Jaune Quick-to-See Smith.
