The Rancher

Inscriptions

Signed and inscribed, on reverse, in black marker, top edge: [illeg.] Smith 2002 "THE RANCHER" ACl 72" x 48"

Label

In recent works, four contemporary artists—Hopi, Cherokee, Lakota, and Salish—call for reflection and action on a demeaned or endangered cultural and environmental heritage. Kay WalkingStick’s diptych Remember the Bitteroots memorializes both the mountain range and the leadership of Nez Perce Hin-mah-too-yah-lat-kekt (Chief Joseph), who tried to lead his people over the Bitterroot Mountains to escape the gold hunters and soldiers who would exterminate them. In Victor Masayesva Jr.’s digital print Ground Zero, a circle of bleached deer antlers presents an apocalyptic vision of destruction and imbalance caused by nuclear contamination.

Lynne Allen’s they were as numerous as grass uses the near extinction of the buffalo to comment on the near demise of the many people of the Plains interdependent with the buffalo and the natural habitats of their shared territory. And Jaune Quick-to-See Smith appropriates the figure from a well-known painting by George Catlin, who followed the route of Lewis and Clark's Louisiana Purchase Expedition which opened up the West to greater American expansion, colonization and extraction. Quick-to-See Smith rejects the stereotype that Catlin’s imagery perpetuates, while simultaneously linking that problematic idea of Indianness to marketing. Like the iconic logos of Krispy Kreme or Purina, she asserts, imagery of Native peoples is freighted with deliberate and constructed associations.

From the 2019 exhibition Entrance Gallery, curated by John R. Stomberg Ph.D, Virginia Rice Kelsey 1961s Director

Course History

SART 31, Painting II, Tom Ferrara, Summer 2012

SART 31, SART 72, Painting II, III, Colleen Randall, Spring 2013

NAS 30.1, ARTH 17, Modern Native American Art History, Joyce Szabo, Summer 2013

SART 31, 72, Painting II, III, Jennifer Caine, Winter 2019

SART 31/SART 72, Painting II/III, Jennifer Caine, Winter 2020

SART 31/SART 72, Painting II/III, Jen Caine, Winter 2022

SART 31/SART 72, Painting II/III, Colleen Randall, Spring 2022

Exhibition History

Colby College Museum of Art, Waterville, Maine, February 16, 2016-June 30, 2018.

Entrance Gallery, Luise and Morton Kaish Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, January 26-April 7, 2019.

Intersections: Native American Art in a New Light, Peabody Essex Museum, Salem, Massachusetts, June 24, 2006-December 1, 2008.

Jaune Quick -to-See Smith: Memory Map, Whitney Museum of American Art, New York, New York, April 19-August 13, 2023; Modern Art Museum of Fort Worth, Fort Worth, Texas, October 15, 2023-January 7,2024; Seattle Art Museum, Seattle, Washington, February 15, 2024-May 12, 2024.

Jaune Quick-to-See Smith - Trade Canoe: Forty Days and Forty Nights, Luise and Morton Kaish Gallery, Hood Museum of Art, Dartmouth, Hanover, New Hampshire, January 6–December 12, 2021.

LewAllen Contemporary, Santa Fe, New Mexico, 2005.

Modern and Contemporary Art at Dartmouth: Highlights from the Hood Museum of Art, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, September 26,2009-March 15, 2010.

Native American Art at Dartmouth: Highlights from the Hood Museum of Art, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, October 8, 2011-March 12, 2012.

Native Ecologies: Recycle, Resist, Protect, Sustain, Owen Robertson Cheatham Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, April 10, 2019-July 15, 2019.

Picturing Change: The Impact of Ledger Drawing on Native American Art, Alvin P. Gutman Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, December 11, 2004-May 15, 2005.

Publication History

Zena Pearlstone, Kemo Sabe: The Tonto Paintings of Jaune Quick-To-See Smith, American Indian Art Magazine, Summer 2004, p. 72-79.

Annual Report 2005-6, Hanover, New Hampshire: Hood Museum of Art, Dartmouth College, Hanover: Trustees of Dartmouth College, 2006, ill. p.34.

Brian P. Kennedy and Emily Shubert Burke, Modern and Contemporary Art at Dartmouth: Highlights from the Hood Museum of Art, Hanover: Trustees of Dartmouth College, 2009, p.87, no.62.

George P. Horse Capture, Sr., Joe D. Horse Capture, Joseph M. Sanchez, et al., Native American Art at Dartmouth: Highlights from the Hood Museum of Art, Hanover: Trustees of Dartmouth College, 2011, ill. on p. 65 and p. 157, no. 84.

John R. Stomberg, The Hood Now: Art and Inquiry at Dartmouth, Hanover, New Hampshire: Hood Museum of Art, Dartmouth College, 2019, p. 199, ill. plate no. 130.

John R. Stomberg, The Hood Now: Art and Inquiry at Dartmouth, Hanover, New Hampshire: Hood Museum of Art, Dartmouth College, 2019, p. 53, ill. fig. 8.7.

Provenance

The artist through LewAllen Contemporary, Santa Fe, New Mexico; sold to present collection, 2005.

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